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Confi dent Living, a Life Enriching Communities program, is affi liated with the West Ohio Conference of the United Methodist Church and welcomes people of all faiths. We do not discriminate and we provide free assistance in your native language, if needed. Find our complete non-discrimination policy at LEC.org. MARCH 2020 CONTENTS

70 CSO Chamber Players: 69 CONCERTS Manny and More, Mar. 27 Legendary 73 Lollipops: Peter and the pianist and 29 Classical Roots: Mar. 6 Wolf, Mar. 28 great friend of 33 Guest artists: CeCe the Orchestra Winans, vocalist; CSYO Emanuel Ax Nouveau Chamber Players; 43 performs Classical Roots Community Former Mozart’s Piano Mass Choir Late Show Concerto No. 20 Pops: with David 41 The Cincinnati (the work he also played here Letterman Sound: An American for his 1976 debut) with the Musical Legacy, Mar. 7-8 bandleader CSO and guest conductor Peter 43 Guest artists: Paul Paul Shaffer Oundjian Mar. 27–28, Also on Shaffer, co-host and joins John the program: Shostakovich’s curator; Morgan James and Morris Russell and the Cincinnati epic Symphony No. 8. Mykal Kilgore, vocalists Pops for a concert celebrating 49 CSO: Handel in Rome, The Cincinnati Sound Mar. 7–8. Mr. Ax also joins the CSO Mar. 13–14 Experience American music born Chamber Players for a 56 Guest artists: Jonathan just blocks from Music Hall in performance of Schumann’s Cohen, conductor; Thomas the landmark King Records and E-flat Major Quintet Friday Dunford, lute; Joélle Harvey, Herzog Studios, including songs evening, Mar. 27. soprano from legends such as James 61 CSO: Manny and Mozart, Brown, the Isley Brothers, Mamie Mar. 27–28 Smith, Hank Williams and more. 68 Guest artists: Peter Oundjian, conductor; DEPARTMENTS Emanuel Ax, piano FEATURES 6 A Letter from the President 33 8 Your Concert Experience Best-selling Music Education a Year- Orchestra Roster Gospel artist 12 10 Round Commitment for CeCe Winans Artistic Leadership: CSO Musicians and Staff 14 joins the Louis Langrée and Cincinnati 20 CSO 125: Copland’s Fanfare John Morris Russell for the Common Man Symphony 17 If It Sounds Good, Orchestra and 23 Spotlight on CeCe Winans It Is Good! by JMR the Classical Roots Community and Classical Roots Directors & Advisors Mass Choir for the annual 74 24 Spotlight on Thomas Classical Roots concert Mar. 6, Financial Support Dunford and Joélle Harvey 77 when our community comes 83 Administration together to celebrate the rich 27 Emanual Ax and the and diverse African-American Music of Mozart 84 Coda musical experience. Damon 44 Q&A with Paul Shaffer Gupton conducts.

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FANFARE CINCINNATI STAFF: Cincinnati Symphony Orchestra and Cincinnati Pops Vice President of Communications Chris Pinelo Director of Communications Franck Mercurio Digital Communications Manager Lee Snow Editor/Layout McKibben Publications

All contents © 2019–20. The contents cannot be reproduced in any manner, whole or in part, without written permission from the Cincinnati Symphony Orchestra and Cincinnati Pops.

ON THE COVER CeCe Winans joins CINCINNATI SYMPHONY ORCHESTRA & the Cincinnati Symphony Orchestra for its CINCINNATI POPS annual Classical Roots concert March 6. Read Music Hall more about Ms. Winans and the concert—a 1241 Elm Street celebration of the rich and diverse African- Cincinnati, OH 45202 American musical experience—on page 23. Administrative Offices: 513.621.1919 [email protected] Box Office CINCINNATI MAGAZINE: Music Hall Advertising and Publishing Partners 1241 Elm Street for Fanfare Cincinnati Cincinnati, OH 45202 Publisher 513.381.3300 Ivy Bayer [email protected] Production Director & IT Systems Administrator Group Sales Vu Luong 513.744.3590 Senior Manager, Sponsorship Sales [email protected] Chris Ohmer Advertising & Marketing Designer TTY/TDD Paisley Stone Use TTY/TDD Relay Service 7-1-1 Senior Account Manager cincinnatisymphony.org | cincinnatipops.org Maggie Wint Goecke Senior Outside Account Representative Laura Bowling Account Representatives Tony Bannon, Paige Bucheit, Eric Kappa, Julie Poyer, Leslie Sikes Operations Director Missy Beiting RECYCLE FANFARE CINCINNATI Event Manager Sloane Scheuer You are welcome to take this copy of Business Coordinator Fanfare Cincinnati home with you as a Erica Birkle souvenir of your concert experience. Alternatively, please share Fanfare Advertising and Business Offices Cincinnati with a friend or leave it with Carew Tower 441 Vine Street, Suite 200 an usher for recycling. Thank you! Cincinnati, OH 45202 513.421.4300 Subscriptions: 1.800.846.4333 cincinnatimagazine.com

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A LETTER FROM THE PRESIDENT—Jonathan Martin

Dear Friends, virtuosity. Craig Hella Johnson and the Vocal Arts Ensemble present sacred music by Bach, Cece Winans. Paul Shaff er. Caroline Shaw, and a world premiere by Michael Hank Williams. Joan Tower. Ippolito at St. Rose Church. Sousa. Jennifer Higdon. The three off erings for our youngest audi- James Brown. LeRoy An- ences are conducted by CSO Assistant Conduc- derson. Louis Andriessen. tor François López-Ferrer. Boldly Go features Einojuhani Rautavaara. This music inspired by notable historical fi gures. The is just a sampling of artists Lollipops Family Series presents Peter and the and composers refl ecting the extraordinary Wolf with a special sensory-friendly rehearsal variety of programming at Music Hall in March. beforehand. Innovation and technology catalyze We begin with a Cincinnati staple of nearly two our Plugged In YPC, with the world premiere of decades: Classical Roots, with CeCe Winans, the A Spring Thaw on themes by this year’s Student Orchestra, CSO Classical Roots Community Choir Melody Contest winners. and exceptional Nouveau Program students. Finally, we welcome our dear friends Emanuel Pops Principal Guest Conductor Damon Gupton, Ax and Peter Oundjian. In addition to Mozart’s our newest artistic team member, conducts. sublime Piano Concerto No. 20, Manny Ax and John Morris Russell’s all-new American Origi- CSO musicians will perform an intimate Wilks nals spotlights the legacy of American music born Studio chamber music concert. in the recording booths at King Records and Her- This wide-ranging lineup demonstrates not zog Studios—just a few blocks away. JMR, Paul only the Orchestra’s incredible versatility and Shaff er and special guests pay tribute to James virtuosity but our belief that music is a pathway Brown, the Isley Brothers, Hank Williams, Mamie to deepening our curiosity, connecting us to our Smith and the Stanley Brothers—whose styles world and to each other. We are glad you are and careers were nurtured right here in Cincinnati. with us on that journey. Jonathan Cohen, Thomas Dunford and Joélle Harvey are three of today’s foremost Baroque Sincerely, music interpreters, and our Rome-themed concert highlights their singular and collective

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4949 Tealtown Road | Milford, OH 45150 Your Drinks are allowed in the For the full list of restricted auditorium for all Pops items, please visit performances, and beer cincinnatiarts.org/ Concert and wine are allowed in the plan-your-visit/ auditorium for CSO concerts. safety-procedures Pre-order your drinks for Experience intermission at any bar. PRE-CONCERT TALKS Get behind the music with free, Come early to enjoy Music+, informal talks one hour prior to a curated variety of events to most CSO concerts. PLEASE NOTE make your concert experience cincinnatisymphony.org/talks Latecomers and audience even more fun. From artist members who exit the talks to wine tastings to foyer auditorium during a art, we offer new and different CONCESSIONS performance will be re-seated ways to connect to the music. Enjoy these options available at the discretion of house at all bar locations: Molly cincinnatisymphony.org/ management. Wellmann-crafted cocktails, musicplus Findlay Market snack trays, Photography: Non-flash gourmet chocolates and Security: All persons are photography is encouraged rotating specials. required to pass through during moments of applause. a metal detector and have Pre-order drinks for Tag us at #cincysymphony and their bags searched, or be intermission at any bar. #cincinnatipops. Audio and screened with a hand-held video recording are prohibited Visit the premium wine bar in metal detector. Restricted during performances. the Lindner Grand Foyer and items include outside food/ check out our Hart + Cru wine beverages, pocket knives, Things that make noise: All tasting series. mace/pepper spray, oversized noise-emitting devices should bags/luggage/backpacks. All be placed on silent when MERCHANDISE bags will be inspected upon entering the auditorium. Located near the escalators, the entry. Bravo Shop features CSO and Pops merchandise, guest artist items and locally crafted goods. bravoshop.org

8 | FANFARE CINCINNATI | cincinnatisymphony.org RESTROOMS Sensory-friendly packs, large- Cincinnati Pops. History and Accessible restrooms are print programs, and assistive tour information: located on every level of listening devices can be cincinnatisymphony.org/ the building. Family/unisex checked out at Guest Services music hall restrooms can be found on in the Lindner Grand Foyer. the North Orchestra level and Lollipops and Classical Roots MUSIC FOR ALL at the Box Office entrance. performances are American We believe that great music Ushers are available to assist Sign Language interpreted is for everyone, regardless of audience members in locating for the Deaf and Hard of your budget. We offer a variety the nearest facility. Hearing. Call the Box Office of ways to experience your at 513.381.3300 for more Orchestra at accessible prices. PARKING information. Pre-paid parking is offered cincinnatisymphony.org/ through the Box Office at musicforall LOST AND FOUND 513.381.3300. Spaces are Located at Guest Services offered to subscribers in NON-HARASSMENT POLICY in the Lindner Grand Foyer. advance and to single ticket The CSO has a zero-tolerance For inquiries, call the buyers the week of the policy for harassment of any Cincinnati Arts Association at performance. kind, including but not limited 513.744.3344. to race, national origin, sex, Valet is offered curbside on gender identity or expression, Elm Street or by advance MUSIC HALL TOURS age, disability, religion and reservations. Pre-paid parking Welcome to Music Hall, a citizenship. If you ever feel and valet subject to availability. National Historic Landmark uncomfortable or unsafe, and home to the Cincinnati We encourage the use of please immediately notify Symphony Orchestra and Rideshare and public transit. Music Hall staff or security personnel so that we can take cincinnatisymphony.org/ appropriate action. parking

GUEST DROP-OFF LANE A drop-off lane is located CONTACT INFORMATION on Elm Street in front of Box Office: 513.381.3300 Music Hall. Volunteer Access Hours: M–F 10:00AM–5:00PM Ambassadors are stationed Sat 10:00AM–2:00PM there to assist guests with Email: [email protected] mobility challenges. Website: cincinnatisymphony.org ACCESSIBILITY Mail: Cincinnati Symphony Orchestra and Cincinnati Pops All floors of Music Hall Music Hall are ADA-accessible. For 1241 Elm Street information about wheelchair Cincinnati, OH 45202 and companion seating options, visit or call the Box Office at 513.381.3300.

cincinnatisymphony.org | FANFARE CINCINNATI | 9 LOUIS LANGRÉE, CSO Music Director Louise Dieterle Nippert & Louis Nippert Chair Paavo Järvi, Music Director Laureate JOHN MORRIS RUSSELL, Pops Conductor Louise Dieterle Nippert & Louis Nippert Chair Damon Gupton, Pops Principal Guest Conductor

François López-Ferrer, Assistant Conductor, CSO Wilbur Lin, Assistant Conductor, Pops

FIRST VIOLINS CELLOS CLARINETS TIMPANI Stefani Matsuo Ilya Finkelshteyn Christopher Pell Patrick Schleker Concertmaster Principal Principal Principal Anna Sinton Taft Chair Irene & John J. Emery Chair Emma Margaret & Irving D. Matthew & Peg Woodside Chair Charles Morey Daniel Culnan* Goldman Chair Richard Jensen* Acting Associate Concertmaster Ona Hixson Dater Chair Ixi Chen Morleen & Jack Rouse Chair Tom & Dee Stegman Chair Norman Johns** Vicky & Rick Reynolds Chair Philip Marten Karl & Roberta Schlachter in Honor of William A. Friedlander PERCUSSION First Assistant Concertmaster Family Chair Benjamin Freimuth*† David Fishlock James M. Ewell Chair++ Matthew Lad§ Robert E. & Fay Boeh Chair++ Principal Eric Bates Marvin Kolodzik Chair Susan S. & William A. Second Assistant Concertmaster Susan Marshall-Petersen BASS CLARINET Friedlander Chair Serge Shababian Chair Laura Kimble McLellan Chair++ Ronald Aufmann Michael Culligan* Kathryn Woolley Hiro Matsuo Richard Jensen Nicholas Tsimaras– Theodore Nelson BASSOONS Morleen & Jack Rouse Chair Peter G. Courlas Chair++ Marc Wolfley+ Kenneth & Norita Aplin and Christopher Sales Anna Reider Stanley Ragle Chair Principal Dianne & J. David Rosenberg Chair KEYBOARDS Alan Rafferty Emalee Schavel Chair++ Mauricio Aguiar§ Ruth F. Rosevear Chair Hugh Michie Michael Chertock James P. Thornton Chair Minyoung Baik‡ Charles Snavely Martin Garcia* James Braid Peter G. Courlas– Julie Spangler+ Marc Bohlke Chair given Nicholas Tsimaras Chair++ James P. Thornton Chair CONTRABASSOON by Katrin & Manfred Bohlke Michelle Edgar Dugan BASSES Jennifer Monroe GUITAR/BANJO Elizabeth Furuta† Owen Lee Timothy Berens+ FRENCH HORNS Rebecca Kruger Fryxell Principal CSO/CCM DIVERSITY Gerald Itzkoff Mary Alice Heekin Burke Chair++ Elizabeth Freimuth Jean Ten Have Chair James Lambert* Principal FELLOWS~ Lois Reid Johnson Matthew Zory, Jr.**+ Mary M. & Charles F. Yeiser Chair Magdiell Antequera Anne G. & Robert W. Dorsey Trish & Rick Bryan Chair Thomas Sherwood* Chirinos, violin Chair++ Wayne Anderson§ Ellen A. & Richard C. Berghamer Jordan Curry, violin Sylvia Mitchell Boris Astafiev Chair Yan Izquierdo, violin Molly Norcross** Jo Ann & Paul Ward Chair Ronald Bozicevich Arman Nasrinpay, violin Sweeney Family Chair in Luo-Jia Wu Rick Vizachero Alexis Shambley, violin memory of Donald C. Sweeney Cristian Diaz, viola Lisa Conway SECOND VIOLINS Edna Pierce, viola HARP Susanne & Philip O. Geier, Jr. Chair Gabriel Pegis Denielle Wilson, cello Gillian Benet Sella Duane Dugger Principal Camellia Aftahi, bass Principal Mary & Joseph S. Stern, Jr. Chair Al Levinson Chair Cynthia & Frank Stewart Chair Charles Bell Yang Liu* ORCHESTRA PERSONNEL Austin Larson† Harold B. & Betty Justice Chair FLUTES Paul Pietrowski, Director Scott Mozlin** Randolph Bowman Rachel Kilgore, Assistant Manager Henry Meyer Chair TRUMPETS Principal Kun Dong Robert Sullivan LIBRARIANS Charles Frederic Goss Chair Principal Cheryl Benedict Haley Bangs Mary Judge Drake Crittenden Ash§ Rawson Chair Principal Jane & David Ellis Chair Steven Pride Evin Blomberg Austin Brown*† Lois Klein Jolson Chair Rachel Charbel Otto M. Budig Family Christina Eaton* Foundation Chair++ Elizabeth Dunning Ida Ringling North Chair PICCOLO Chika Kinderman Christopher Kiradjieff Assistant Librarian Joan Voorhees Hyesun Park Douglas Lindsay* Patricia Gross Linnemann Chair Paul Patterson Jackie & Roy Sweeney STAGE MANAGERS Family Chair Charles Gausmann Chair++ Phillip T. Sheridan, OBOES Stacey Woolley Technical Director Brenda & Ralph Taylor Chair++ Dwight Parry TROMBONES Ralph LaRocco, Jr., Principal Cristian Ganicenco Stage Manager/Audio VIOLAS Josephine I. & David J. Joseph, Jr. Principal Brian P. Schott, Chair Dorothy & John Hermanies Christian Colberg Stage Manager/Lighting Richard Johnson Chair Principal Todd Dignan-Cummins, Donald & Margaret Robinson Joseph Rodriguez** Stage Manager/Carpenter Louise D. & Louis Nippert Chair Chair++ Paul Frankenfeld* Lon Bussell* Grace M. Allen Chair BASS TROMBONE § Begins the alphabetical listing of Peter Norton players who participate in a system Julian Wilkison** ENGLISH HORN Rebecca Barnes§ of rotated seating within the string Christopher Philpotts section. Christopher Fischer TUBA Principal * Associate Principal Stephen Fryxell Christopher Olka Alberta & Dr. Maurice Marsh ** Assistant Principal Melinda & Irwin Simon Chair Principal Chair++ † One-year appointment Caterina Longhi Ashley & Barbara Ford Chair ‡ Leave of absence Denisse Rodriguez-Rivera + Cincinnati Pops rhythm section Joanne Wojtowicz ++ CSO endowment only ~ Funded by the Andrew W. Mellon Foundation

10 | FANFARE CINCINNATI | cincinnatisymphony.org Discover a lifestyle that’s music to your ears

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Learn more about post-career living at Twin Towers. Call 513-853-2000 or visit LEC.org.

+DPLOWRQ$YHQXH_&LQFLQQDWL2+ Twin Towers, a Life Enriching Communities campus, is affiliated with the West Ohio Conference of the United Methodist Church and welcomes people of all faiths. We do not discriminate and we provide free assistance in your native language, if needed. Find our complete non-discrimination policy at LEC.org. FEATURE: Music in Our Schools Month Music Education a Year-Round Commitment for CSO Musicians and Staff

by BECKY SPIEWAK

esignated by the National Association Cincinnati, and workshops D for Music Education (NAfME) as “Music with music educators or in Our Schools Month,” March brings sectional coaching with celebrations of, and recognition to, the power Cincinnati Symphony of music to impact the lives of students in our Youth Orchestra mem- nation’s schools. As March unfolds, our Cincin- bers. The majority of these nati Symphony Orchestra (CSO) musicians will visits are provided at little make visits to schools in Sharonville, Loveland cost—and often no cost—to and Price Hill, in addition to Northern Kentucky schools. François López-Ferrer University. Although the Orchestra capitalizes As the face of the Or- on this month to spread awareness of the role chestra for young audiences, CSO Assistant of music in our schools, the CSO’s engagement Conductor François López-Ferrer brings an continues year-round. energy to orchestral music that bridges genera- The buzz of a standard week of rehearsals tions. With a sold-out set of Young People’s and performances does not stop the CSO from Concerts in March, here’s what he had to say: traversing the greater Cincinnati region to work with thousands of its youngest fans each year. Tell us about your connection to the CSO and Not a week goes by where Orchestra members what it means to return to Cincinnati as the aren’t involved with students and teachers, Assistant Conductor of the Orchestra. whether it is performing at an elementary school A young person’s earliest exposure to the arts for a curious crowd of third graders, or coach- is, in most cases, everlasting, and serves as ing high school musicians in preparation for an a great influence on their future. The CSO is audition. Last season, the CSO reached more the orchestra I grew up with. For many of my than 10,000 students outside of Music Hall, in favorite composers and works that I now have addition to the 16,000 who attended Young the privilege to live and breathe, the first live People’s Concerts at Music Hall. performances I heard were given by the CSO The average week of CSO educational ac- with my father, Jesús López Cobos, conducting. tivities includes eight hours of weekly Sound As a child, I spent quite a bit of time running Discoveries school residency, eight hours of around between the Green Room (when it was coaching with MYCincinnati students, one to still green) and the hall during rehearsals, trying two hours of musician visits to schools across to catch a glimpse of this mysterious act of con-

12 | FANFARE CINCINNATI | cincinnatisymphony.org ducting my father was doing, and then going home and imitating him. Therefore, returning to the Queen City and to the CSO in this inspiring new context as Assistant Conductor is the most perfect way imaginable for me to reconnect with my most personal musical roots.

Looking back on your own experi- ences growing up, is there a mo- ment that stands out as the catalyst for pursuing music as a career? Each week CSO musicians and staff engage with Tristate area students, Pre-K–college, Throughout high school at St. Xavier through chamber performances, instrumental coaching and music exploration. High School, and while pursuing my bachelor’s degree at CCM, I came to CSO con- basic of ways. Therefore, my “educated” way of certs almost every weekend. At that time, Paavo encouraging a youthful public to experience a Järvi was the Music Director, and my aspiration piece of music in a new or different way in turn was still to become a composer. Maestro Järvi’s affords me the opportunity to notice, through free-flowing, elegant, and warm way of mak- their reaction, new details or colors I may not ing music served as a huge inspiration to me. have otherwise. Music is a part of human nature I approached him one day and told him about and, as professional musicians, the more we my interest in conducting and if he could give remain connected with who we are and who me lessons. He guided me in the right direction we were as children, the more open we remain and, in the following years, I participated in his to discovering new possibilities in our art form. master classes in his native Estonia on numerous occasions. His influence both professionally and What do you hope students will experience personally is substantial. This is yet another way when attending a Young People’s Concert? the CSO and its Music Directors have played such My biggest hope from students attending our a profound role in my life. Young People’s Concerts is that they come with open ears and open hearts to experience some- Where do you find the greatest opportunity in thing new. A musical performance exists in one engaging today’s youth? fleeting moment that has the power to electrify, Conducting concerts for young people and excite, reflect, heal and exhilarate in ways we working with youth orchestras around the world may not even be aware of in that very instance. is a large and indispensable part of my life that continually inspires and surprises me. As we For more information about CSO Education grow older, we are taught how certain things Programs, please visit cincinnatisymphony.org/ should be done; i.e., how we should speak, listen, educators. Also, visit cincinnatisymphony.org/ feel and express ourselves based on the country ferrer to read an extended version of our in- and culture we live in. However, as children, we terview with François López-Ferrer, including are free from these customs. We react to the his upcoming conducting engagements and his world around us in the most instinctual and message to his CSO family. „

cincinnatisymphony.org | FANFARE CINCINNATI | 13 ARTISTIC LEADERSHIP—Louis Langrée, Music Director

Louis Langrée has been Music Director of the Langrée has conducted Cincinnati Symphony Orchestra (CSO) since the Berliner Philharmoniker, 2013. In recent seasons Langrée has toured with Wiener Philharmoniker and the Orchestra to Asia and Europe, including London Philharmonic. He appearances with the Hong Kong Arts Festival, has worked with many other Edinburgh International Festival, BBC Proms orchestras around the world, (London), and La Seine Musicale (Paris). including the Orchestre de Langrée’s recordings with the CSO feature Paris; Orchestre de la Suisse Copland’s A Lincoln Portrait (narrated by Dr. Romande; the Santa Cecilia, Maya Angelou) and world premieres of works Budapest Festival, São Paulo by Sebastian Currier, Thierry Escaich, David Lang and NHK orchestras; and and Zhou Tian (Grammy nominated). His latest Deutsche Kammerphilhar- CSO recording, released in August 2019, features monie Bremen, Freiburger Barockorchester and works by Gershwin, Varèse and Stravinsky and the Orchestra of the Age of Enlightenment. Fes- also was Grammy nominated. His recordings tival appearances have included the Wiener Fest- have received several awards from Gramophone wochen, Salzburg Mozartwoche and Whitsun and and Midem Classical. He is a Chevalier des Arts et Glyndebourne Festival Opera. He has also con- des Lettres and Chevalier de la Légion d’Honneur. ducted at La Scala, Bayerische Staatsoper, Royal Langrée is also Music Director of the Mostly Opera House Covent Garden, Opéra-Bastille, Lyric Mozart Festival at Lincoln Center in New York, Opera of Chicago, Dresden Staatsoper, Wiener a position he has held since 2002. Staatsoper, Netherlands Opera (Amsterdam), and Recent appearances include debuts with the more than 50 performances at The Metropolitan Czech Philharmonic (Prague Spring Festival), Or- Opera. Langrée has conducted several world chestre National de France and the Konzerthaus premieres, including works by Daníel Bjarnason, Berlin Orchestra. Return engagements include Magnus Lindberg and Caroline Shaw. performances with the Wiener Symphoniker, and He has held positions as Music Director of the Leipzig Gewandhaus and Philadelphia orchestras. Orchestre de Picardie and Orchestre Philharmo- During the 2019–20 season, he debuts with the nique Royal de Liège, and he was Chief Conduc- New York Philharmonic, National Symphony tor of the Camerata Salzburg. Langrée was also Orchestra, Montreal Symphony, and the Chicago Music Director of Opéra National de Lyon and Symphony Orchestra at Ravinia. Glyndebourne Touring Opera. „

GRAMMY GRAMMY NOMINEE NOMINEE 2020 DISCS 2020

2

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6905 Given Road | Cincinnati OH 45243 513-979-0220 | CountryDay.net ARTISTIC LEADERSHIP—John Morris Russell, Conductor

In his ninth year as con- American Soundscapes video series, which has ductor of the Cincin- been viewed over one million times around the nati Pops Orchestra, John globe. JMR is also instrumental in the continuing Morris Russell continues development of Classical Roots, which he helped to redefine the American create for the CSO nearly two decades ago, orchestral experience and continues to lead concerts on the Lollipops With the Cincinnati Family Series that he first conducted in 1995 as Pops, JMR leads sold-out Assistant Conductor of the CSO and Pops. performances at Mu- JMR’s recent collaborations include Aretha sic Hall and concerts Franklin, Emanuel Ax, Amy Grant and Vince Gill, throughout the region, Garrick Ohlsson, Rhiannon Giddens, Brian Stokes as well as domestic and Mitchell, Steve Martin, Cho-Liang Lin, Sutton international tours, cul- Foster, George Takei, Megan Hilty, Ranky-Tanky, tivating the reputation of Greater Cincinnati as Edie Brickell, Steep Canyon Rangers, Over the one of the world’s leading cultural centers. His Rhine, Brian Wilson and Leslie Odom, Jr. As a visionary leadership of The Pops created the guest conductor, he has worked with prominent American Originals Project, which has garnered orchestras throughout North America, including critical and popular acclaim in two landmark the Los Angeles Philharmonic, The Cleveland concert productions and subsequent record- Orchestra and the New York Philharmonic. JMR ings: American Originals (the music of Stephen also serves as Music Director of the Hilton Head Foster) and American Originals 1918 (a tribute Symphony Orchestra, Principal Pops Conductor to the beginnings of the jazz age). The third of the Buffalo Philharmonic Orchestra, and is concert production of the project, King Records Conductor Laureate of the Windsor (Ontario) and the Cincinnati Sound with legendary pianist Symphony Orchestra. Paul Shaffer, will be premiered by The Pops in Last summer JMR conducted Cincinnati March 2020. Opera’s world premiere of Scott Davenport JMR has contributed six albums to the recorded Richards’ Blind Injustice, based on the book legacy of the Cincinnati Pops, including the latest, by Mark Godsey. Later this season he debuts Voyage, which debuted at No. 6 on Billboard’s with the Pittsburgh Symphony Orchestra and Classical Chart in August 2019. In 2016 JMR, The the National Arts Centre Chamber Orchestra in Pops and CET Public Television began their online Ottawa, Canada. „

THANK YOU Business Partners The CSO extends its gratitude to our 19/20 Business Partners

Kelly Dehan and The Dehan Family

American Red Cross, Greater-Cincinnati Dayton Region • Arthur J. Gallagher & Co. BelFlex Staffing Network • Buddy Roger’s Music • Dan Beard Council, Boy Scouts of America The David J. Joseph Company • David L. Martin • d.e. Foxx & Associates • Details2Decor The Dental Care Plus Group • Diversified Facility Solutions • Dr. and Mrs. Alvin Crawford Harold and Gwen Brown • Integrity Development • Joyce and Howard Thompson Kathleen M. Grote • Megen Construction • MSA Architects • The Nelson Stark Company The Perfect Brew • Perfido Weiskopf Wagstaff and Goettel • Susan Friedlander Thomas J. Dyer Company • Vincent Lighting Systems • The Voice of Your Customer Wegman Company

16 | FANFARE CINCINNATI | cincinnatisymphony.org IF IT SOUNDS GOOD, IT IS GOOD! by JOHN MORRIS RUSSELL

The Great Midwest is the cradle of American Songbook by melding musical traditions he music—it’s where it ALL comes together. Our heard on the docks of the port of Cincinnati in city, our Orchestra, are steeped in the musical the mid-1800s. In this month’s installment of traditions that are uniquely American. Mountain American Originals—The Cincinnati Sound—we music, based on Celtic traditions, came to the revel in the composers and artists who came Ohio Valley on flatboats and coal barges that to Cincinnati 100 years later and created the stoked the Industrial Revolution. African musi- essence of American music for the rest of the cal traditions came along with the cargo on 20th century, immortalized in recordings at Riverboats from New Orleans and in the voices Herzog Studios and King Records. of enslaved Americans seeking freedom in When Hank Williams was asked why he would Canada. German immigrants brought European come all the way up to Cincinnati to make his orchestral traditions and performed concerts very first recordings, he said it was the quality of popular classics in Biergartens and dance of the “side men”—those incredible musicians halls throughout the city and formed the core who came with the recording studio and who of the May Festival orchestras and, eventually, knew how to make it all sound righteous. King the CSO. Bluegrass, country, rhythm and blues, Records had incredible “house musicians” as jazz, gospel, rockabilly, rock ‘n’ roll and funk well, many of whom studied in the numerous were nurtured by the confluence of cultures excellent conservatories Cincinnati boasted in and musical traditions that took root right here the early 1900s. And then there was Syd Nathan, over the past 200 years. King Records’ entrepreneur, who never cared Our initial American Originals project in 2015 about black or white because he only cared celebrated the music of Stephen Foster, who about green. He put everyone in the room to- penned the first pages of the Great American gether, and the powerful and evocative sound that exploded when country, gospel and soul fused together to create rockabilly, R&B and funk changed everything. At nearly the same time, the Isley Brothers, from Lincoln Heights, created their own blend of R&B, gospel and doo-wop with their early hits and morphed into one of the grooviest, most successful and influential bands in the pantheon of American popular music. Paul Shaffer and his all-star rhythm section will be in the driver’s seat March 7–8 for our Cincinnati Sound concerts. And splendid new orchestrations will bring a new depth and sparkle to everyone’s favorite hits, sung by the brilliant Mykal Kilgore (making his Pops debut) and the spectacular Morgan James. This is what the Pops is about: bringing bril- liant talent together and celebrating the musical traditions that make Cincinnati the heart of American music-making. This is going to be FUN!

Cheers,

From top: A Rock and Roll Hall of Fame plaque stands outside the King Records building in Evanston. King Records founder Syd Nathan.

cincinnatisymphony.org | FANFARE CINCINNATI | 17 LETTER FROM THE PRESIDENT IN MUSIC HALL... Peter E. Koenig, President As we anticipate the arrival of ...ALL SORTS OF OUTDOOR SPORTS spring, Friends of Music Hall Music Hall resembled the great outdoors when invites you to take a guided tour the January 1932 Sportsmen’s Show was held or attend one of our upcoming in the Queen City. events, including programs featuring the Demonstrations and Mighty Wurlitzer, described on the following competitions in the page. Our members receive special discounts north hall featured a to these events. I suspect you love Music Hall 60-foot long water as much as I do, please consider joining the tank. Activities Friends of Music Hall. included Canadian log-rolling and canoe-tilting. Nearby VOLUNTEER HIGHLIGHT _^WU_eæVÄ^VdYW¹TWcdZ^TçZdºç^Vôè!UçcdZ^X Patti Cruse, Volunteer artists. Photo: Canoe tilting competition at the 1938 As someone with a lifelong Sportsmen’s Show, Cincinnati Music Hall. interest in historic and other architecture, especially stories Other events included behind the structures, Patti archery, shooting, wood- Cruse grabbed the opportunity to become a chopping, moose-calling Music Hall tour guide. In addition to leading and pigeon racing. tours and staffing the lobby info desk, she Coordinators petitioned is learning about ghost tours. “I enjoy the the Smithsonian to provide camaraderie with the other volunteers, taxidermized Martha, the learning from our veterans and getting to last passenger pigeon, know other newbies.” who died at the Cincinnati Zoo in 1914. The request was apparently denied. Photo: Martha, the last passenger pigeon.

BOARD MEMBER HIGHLIGHT A 110-foot high ski Rick Pender, Board Member jumping tower was Rick Pender joined the board constructed outside in 2018. Retired from a long Music Hall along career in communications and Elm Street. No snow fundraising (that included required: The jumpers public radio and Cincinnati Opera), Rick landed on bales of is a freelance journalist, author, radio hay. Photo: Ski Jump interviewer and tour guide. His theater Demonstration at reviews appear in CityBeat, and the second the 1938 Sportsmen’s edition of his book 100 Things To Do In Show, Cincinnati Cincinnati Before You Die (with Music Hall Music Hall. on its cover) was published in 2019. PHOTO BY JASON BOHRER

OUR MISSION is to preserve, OUR VISION is to perpetuate Music Hall as the improve, promote and educate premier cultural center of the region and an about Cincinnati Music Hall. Historic Landmark of International significance.

Visit Music Hall March 14, 2020 during ArtsWave Days to get a taste of our tours.

MARIA LONGWORTH Maria Longworth, granddaughter of a Cincinnati philanthropist, developed her love of the arts at an early age. At 19, she married George Ward Nichols, a Civil War veteran who wrote about music and art. They traveled to Europe and enjoyed choral classical music festivals. With conductor Theodore Thomas they created a similar event for Cincinnati in 1873, the BECOME A FRIEND OF highly successful May Festival. It was held in MUSIC HALL TODAY! Music Hall’s predecessor, the huge Saenger 1878 CIRCLE $50 Hall, the only building in town large enough BLACK BRICK CIRCLE $100 for choruses, orchestra, and visitors. WURLITZER CIRCLE $250 Maria later turned her attention from music to art, especially beautifully glazed porcelain. HANNAFORD CIRCLE $500 In 1879, she founded Rookwood Pottery in SPRINGER CIRCLE $1,000 an old schoolhouse purchased by her father. ROSE WINDOW CIRCLE $5,000 In addition to the pottery and the May CORBETT CIRCLE $10,000+ Festival, her creative legacy includes Music Go to friendsofmusichall.org Hall, the Art Museum, the Art Academy, and the College of Music. Aaron Copland’s Fanfare for the Common Man

In the months that followed the attack on Pearl to have remained in the repertoire, however. This Harbor on December 7, 1941, Eugene Goossens, fanfare is, arguably, one of the most recognizable the CSO’s sixth Music Director, invited important and beloved works of our time. It has been heard composers of the day to write patriotic fanfares not only in indoor and outdoor concert venues that, as Goossens wrote in his invitation letter, of professional and amateur ensembles alike would be “stirring and signifi cant contributions (classical, jazz and rock groups have performed to the war eff ort.” Among those who answered arrangements of it), but themes from it have also the call were Walter Piston, Darius Milhaud, been used in fi lms, video games and television Henry Cowell, Morton Gould, William Grant commercials, as well as for sports teams and Still and Howard Hanson. They responded with Olympic champions, and even as an alarm clock fanfares such as A Fanfare for the Fighting for the astronauts aboard the Shuttle Endeavor. French, A Fanfare for Paratroopers, A Fanfare Its majestic and hymn-like qualities and somber for American Heroes and Fanfare for Freedom. mood make it the perfect piece for occasions of It is another of these commissioned compos- national pride or mourning. ers, Aaron Copland, whose Fanfare for the Com- Copland was at fi rst reluctant to take on mon Man stands out as the only work on the list the fanfare commission. In Copland’s auto-

RACHMANINOFF BEETHOVEN No. 8 + Sō PERCUSSION + PROKOFIEV APR 3–4 APR 17–18

Louis Langrée conductor Xian Zhang conductor Sō Percussion Sergio Tiempo piano

20 | FANFARE CINCINNATI | cincinnatisymphony.org biography, written dramatic purport and evoked spontaneous with Vivian Perlis, he applause from the audience.” admits that he nearly “It’s slow, it builds up, but it takes a long while passed on Goossens’ to build up. It’s solemn, moving and very deep. request. He was in Those are not attributes that you think of when need of money at the defining a fanfare,” Miguel Roig-Francolí, pro- time, and the CSO fessor at the University of Cincinnati’s College- Music Director had Conservatory of Music told Cincinnati freelance requested an unpaid writer Janelle Gelfand for Cincinnati Magazine. commission. “But those attributes also define patriotism—in However, in May of this case, the sadness of war, where people 1942, the Cincinnati are dying.” Symphony Orchestra Perhaps this is what distinguished Copland’s had premiered Cop- fanfare from the rest, making it one of the most land’s Lincoln Portrait significant American compositions of the 20th under then-New York century. From the beginning, Fanfare for the Philharmonic Conduc- Common Man has been a musical metaphor tor André Kostelanetz, inspiring unity. But it also reflects the CSO’s who had commis- long commitment to commissioning new works sioned the work. Its which resonate with people’s lives, a tradition success and his prior that continues to this day. „ relationship with the

Aaron Copland and a copy of the CSO likely prompted first page of his Fanfare for the Copland to agree to Common Man „ THE FANFARES (by premiere date) score. the commission. Goossens planned A Fanfare for Airmen, Bernard Wagenaar, to premiere one fanfare each week for the en- 10/9/1942 tire concert season of 1942–43, and Copland’s A Fanfare for Russia, Deems Taylor, 10/16/1942 fanfare was planned for the Orchestra’s open- ing night of October 9, 1942. But by the time A Fanfare for the Fighting French, Walter Copland finished the composition, it was too Piston, 10/23/1942 late for opening night. He delayed sending it A Fanfare to the Forces of our Latin-American to Goossens even longer when he struggled to Allies, Henry Cowell, 10/30/1942 come up with a title. A Fanfare for Friends, Daniel Gregory Mason, Copland had considered several titles for the 11/6/1942 fanfare, but a speech by Vice President Henry A Fanfare for Paratroopers, Paul Creston, Wallace became his ultimate inspiration: “Some 11/27/1942 have spoken of the ‘American Century.’ I say that the century on which we are entering—the Fanfare de la Liberté, Darius Milhaud, 12/11/1942 century which will come out of this war—can be A Fanfare for American Heroes, William Grant and must be the century of the common man.” Still, 12/18/1942 Goossens received the titled fanfare in No- Fanfare for France, Virgil Thomson, 1/15/1943 vember and proclaimed, “Its title is as original Fanfare for Freedom, Morton Gould, 1/22/1943 as its music, and I think it is so telling that it deserves a special occasion for its performance. Fanfare for Airmen, Leo Sowerby, 1/29/1943 If it is agreeable to you, we will premiere it Fanfare for Poland, Harl McDonald, 2/5/1943 12 March 1943 at income tax time.” Copland Fanfare for the Medical Corps, Anis Fuleihan, replied, “I [am] all for honoring the common 2/26/1943 man at income tax time.” (Income tax day was Fanfare for the American Soldier, Felix March 15 at the time.) Borowski, 3/5/1943 Roughly 11 percent of the U.S. population fought in WWII, and when Fanfare for the Com- Fanfare for the Common Man, Aaron Copland, mon Man premiered in the spring of 1943, nine 3/12/1943 CSO musicians had asterisks by their names Fanfare for the Signal Corps, Howard Hanson, indicating that they were on leave from the 4/2/1943 Orchestra while serving in the Armed Forces. Fanfare for the Merchant Marine, Eugene After the premiere, the Cincinnati Enquirer Goossens, 4/16/1943 said Fanfare for the Common Man was Copland’s most striking composition to date: “Scored for brass and percussion, it had deftness in its

cincinnatisymphony.org | FANFARE CINCINNATI | 21 BRAVO SHOP

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CeCe Winans Headlines Annual Classical Roots Concert

by RAENOSA ONWUMELU

The Cincinnati Symphony Orchestra (CSO) is bringing best-selling Gospel artist CeCe Winans to the Music Hall stage for its annual Classical Roots concert March 6. The 12-time Grammy Award winner has charmed fans ever since she came onto the Gospel scene. Over the past 20 years, Winans has won 23 Dove Awards (for achievements in Christian and Gospel music) and seven Stellar Awards (for achievements in Gospel Music). She holds a spot on the Hollywood Walk of Fame and has multiple NAACP Image Awards. Winans will perform some of her music catalog with the 150-member Classical Roots Community Mass Choir, which represents more than 60 area churches, and the Cincinnati Pops, and she is looking forward to the collaboration. “There is nothing better than a good gospel choir,” said Winans. “Add to that others who are at the top of their fi eld and you have a powerful night full of musical excellence!” CeCe Winans Winans is particularly looking forward to performing “Alabaster Box” with the Chorus Several diversity initiatives have grown out of and Orchestra. “It’s a song we can all relate to,” the MAC partnership, including the CSO Basic Winans explained. “It’s about a woman who has Black Series, the MAC Music Series, the Nouveau forgiven much, therefore she loved much!” Program, and newer initiatives such as the MAC The Classical Roots concert and Classical Music Innovator Program and the MAC Award Roots Community Mass Choir are supported for Diversity and Leadership in the Arts. by the CSO’s Multicultural Awareness Council The Classical Roots program debuted in 2001 (MAC), a group formed exactly 30 years ago at Lincoln Heights Missionary Baptist Church by community leaders and notable African- under the direction of then-CSO Associate Con- American arts advocates, in partnership with ductor John Morris Russell. This year’s concert the CSO, to address the lack of diversity in will be under the direction of Pops Principal Cincinnati arts. Guest Conductor Damon Gupton and Classical “The arts have a way of helping enrich Roots Resident Conductor William H. Caldwell. people’s lives and making the world better,” said Classical Roots, which celebrates the legacy founding MAC member Joel McCray. “That has of African-American music, outgrew its original been the goal of MAC for the last 30 years, to church venues and, in 2010, the Classical Roots make Cincinnati a better place by making sure concert moved to Music Hall. The Music Hall that all people are welcome, from the stage to concert continues to sell out annually. the audience.” Classical Roots 2020 will take place on March 6 at 7:30 p.m. „

cincinnatisymphony.org | FANFARE CINCINNATI | 23 FANFARE SPOTLIGHT Dunford and Harvey to perform a program of Baroque gems by JACOB MARTIN

Cincinnati audiences will be transported to fi rst and third movement and a very simple and Rome March 13–14, to revel in music of the Italian dreamy second movement that uses some of Baroque played by some of the premier Baroque Vivaldi’s sequences we love.” Dunford also will musicians of our time. perform Vivaldi’s Trio Sonata in C Major. Under the leadership of guest conductor This will be Dunford’s debut with the CSO and Jonathan Cohen, who will conduct from the his fi rst time performing at Music Hall. When keyboard, the Cincinnati Symphony Orchestra asked how he fi lls a larger performance space (CSO) will be joined by French lutenist Thomas like Music Hall with a quieter instrument like the Dunford and American soprano Joélle Harvey. lute, he emphasized the role that silence plays Born in Paris in 1988, Thomas Dunford began in performance: “For me, carrying the sounds playing the lute at age nine, later graduating through is not about power. I believe that the from the Paris Conservatoire with unanimous human ear adapts to the sounds produced, fi rst prize honors. He has since distinguished meaning that if you manage to create enough himself as one of the foremost lutenists of our silence through music and dynamics, you could time. In a review of Dunford’s fi rst album, BBC play as soft as possible and people can hear it, Music called him the “Eric Clapton of the lute.” and that creates magical moments.” This March with the CSO, he will be performing Soprano Joélle Harvey says of Thomas, “He Vivaldi’s Lute Concerto in D Major, a work he seems to have music dripping from every pore! began playing a few years ago that is, in his He’s an exquisite musician and great collabora- words, “a beautiful concerto with a ‘dance-y’ tor.” The two, along with conductor Jonathan JewishJewish BooBookk

This event is in SeriesSeries partnership with: Jewish Book Famous Father Girl: A Memoir of Growing Up Bernstein Council Jamie Bernstein ǟ April 1, 2020 ǟ 7pm ǟ Mayerson JCC The oldest daughter of revered composer/conductor Leonard Bernstein offers a rare look at her father on the centennial of his birth in a deeply intimate and broadly evocative memoir. Featuring a panel discussion with the author, Louis Langrée (Music Director at CSO), Janelle Gelfand (Music Critic at Cincinnati Business Courier) and moderated by Paula Brehm-Heeger (Eva Jane Romaine Coombe Director of the Public Library of Cincinnati & Hamilton County)

Purchase tickets & learn about other book events: MayersonJCC.org/bookseries

24 | FANFARE CINCINNATI | cincinnatisymphony.org Cohen, performed in a series of concerts last year, ending their tour at Carnegie Hall in New York. In addition to the “Handel in Rome” concerts in Music Hall’s main auditorium, Cincinnati audiences will get the opportunity to enjoy the Thomas/Harvey collaboration again at 10 p.m. on March 14 at CSO Night/Light, inside the intimate Wilks Studio. Admission to this unique, cabaret-style event includes a complimentary glass of wine and features Dunford and Harvey gentleness. Something for performing by candlelight. Dunford is excited everyone.” to collaborate with Harvey once more: “She Although she grew up in is a wonderful singer and musician, intelligent Bolivar, New York, these and soulful. I am thrilled to play with her again.” performances mark a home- Harvey, in turn, has sung with opera companies coming of sorts for Harvey, and orchestras all over the world. Glyndebourne who received both her bachelor’s and master’s Festival Opera and Royal Opera Covent Garden degrees from the University of Cincinnati love her, and in 2019 she made her Metropolitan College-Conservatory of Music (CCM) in the Opera debut. There she played Pamina in The early 2000‘s. “I have fond memories of Eden Magic Flute, a familiar role for the soprano, who Park, the Cincinnati Art Museum, and spending specializes in Handel, Mozart and new music. time in the circle at CCM.” For her Cincinnati Symphony Orchestra debut When asked what makes Cincinnati special, on March 13 and 14, she will present Handel’s Il she emphasized the city’s unique arts scene. delirio amoroso, a fi ery soprano showpiece that “There was always great support for the arts also includes moments of great tenderness. “I in Cincinnati. I am so glad to fi nally be able to think that Il delirio amoroso is a mini one-woman sing with the CSO, and I am incredibly excited to opera in a way, and in another a perfect chamber be performing gorgeous music with wonderful piece,” she notes. “There’s sadness, anger, love, musicians in this special season,” she says. „

NEW

–––––––––– Late night by candlelight–$25 Tickets.

SAT MAR 14 featuring Joélle Harvey and Thomas Dunford SAT APR 4 featuring Sō Percussion

cincinnatisymphony.org/nightlight

cincinnatisymphony.org | FANFARE CINCINNATI | 25 Matinée Musicale’s 107TH Season CINCINNATI’S ORIGINAL CLASSICAL SOLO RECITAL SERIES!

RARE SOLO PERFORMANCE NICOLE CABELL SOPRANO Donna Loewy, Piano Friday, March 27, 2020 7:30 PM | Memorial Hall OTR

• Winner 2005 BBC Singer of the World Competition • Performed in the title role of Juliet in Cincinnati Opera’s 2019 season production of Romeo and Juliet • Has performed with the Metropolitan Opera, San Francisco Opera and Lyric Opera of Chicago • One of the most sought-after lyric sopranos of today “Cabell’s tone is liquid gold.”

Photo: Devon Cass Photo: JOSHUA ROSENBLUM, OPERA NEWS JOIN US FOR THESE UPCOMING PERFORMANCES AT MEMORIAL HALL

RISING YOUNG LOCAL ARTIST RETURN ENGAGEMENT CHRISTINA PENE NAM PATI VIOLIN TENOR Rohan De Silva, Piano Ronny Greenberg, Sun., Apr. 19, 2020 Piano 3 PM Sun., May 3, 2020 7 PM

Memorial Hall Box Office: 513-977-8838 MatineeMusicaleCincinnati.org Visit us on Facebook. FANFARE SPOTLIGHT Emanuel Ax and the Music of Mozart

by DAVID LEWELLEN

In Mozart’s music, nowadays. “To me, Emanuel Ax hears Mozart is magical drama, characters, and exciting and stories and pas- deeply moving,” Ax sion—and that in- said. “Some people cludes the piano feel that way about concertos. Rachmaninoff or “Mozart was an Tchaikovsky; some opera guy, a theater don’t. It’s a diff erent person,” said Ax, kind of drama, that’s who will perform all. Part of it is sheer the composer’s volume, part of it is Piano Concerto the way we perceive No. 20 with the CSO Photo: Lisa Marie Mazzucco things.” March 27–28, “and Nevertheless, Ax the concertos are absolutely a part of that. continues to maintain a busy schedule play- They’re very character-driven and very com- ing music of all eras with orchestras, chamber plex.” In particular, he sees a strong connection partners, and solo. On his last visit to Cincinnati, between the Piano Concerto No. 20 and Don in 2016, he performed Beethoven’s “Emperor” Giovanni—and not just because of the opera’s Piano Concerto in the Taft Theatre during the thunderous opening in D minor, the same key renovation of Music Hall. On that occasion the as the concerto. Cincinnati Enquirer critic Janelle Gelfand noted, “Mozart’s characters recognize all facets of “…Ax summoned orchestral sonorities without humanity,” Ax said. “They’re never just good, any sign of harshness, tackling great fi stfuls of just evil, just funny—every character really has diffi culties with fi nesse. Best of all, his playing a life, like all human beings.” was heartfelt, with warmly shaped themes and Those characteristics may be easier to spot in lyrical moments that shimmered.” an opera. But even in a genre such as the piano Now, in 2020, Ax’s concerts in March will be concerto, without a specifi c story or words, his fi rst experience with the look and sound of “there’s always a dialogue between me and the the building’s renaissance. But he has a long orchestra,” Ax said. “Sometimes I accompany history with the Orchestra, with whom he de- the oboe; sometimes the fl ute accompanies me. buted in 1976, “so I’ve been through a couple Even in a sonata, where I’m playing alone, I have generations of musicians.” He also goes back two hands, and I get to have several characters decades with guest conductor Peter Oundjian, at a time.” to Oundjian’s days as a violinist in the Tokyo What kind of drama could Mozart have had String Quartet. in mind for this concerto? A clue comes from In addition to his concerts with the full CSO, the fact that “people in Mozart’s time under- Ax is also performing in a chamber concert in stood keys much better than we do,” Ax said. Wilks Studio, playing the Schumann piano quin- “Various treatises from the time talk about the tet with violinists Charles Morey and Eric Bates, character of keys.” C minor, for instance, the key violist Denisse Rodriguez-Rivera, and cellist of Beethoven’s Fifth Symphony, was thought Susan Marshall-Petersen. “It’s one of the great of as suitable for tragedy. But D minor, which chamber works, very brilliant and exciting,” he Mozart chose for this piano concerto, would said. “I play it a lot and I’ve recorded it. It’s a very have been understood as “dramatic, nervous, popular piece.” Following his arrival in Cincinnati with omens of evil.” the week of the concert, he will have one or two But Mozart’s genius is not as fl ashy as some rehearsals with the local musicians, “and I hope later composers whose work gets louder cheers they’ll show the old man what to do.” „

cincinnatisymphony.org | FANFARE CINCINNATI | 27 WORLD PAC PAPER Paper / Paperboard Marketing & Solutions

As a global distributor of high-quality printing & packaging papers and innovative packaging & recycling solutions, we are excited to be involved with products that are so versatile, so woven into the way we live our lives and communicate with each other, while still being natural, recyclable and sustainable.

We are Committed to Sustainability

Sustainability of the arts is at the core of our CSO. We believe it is for the tremendous benefit of a vibrant community, in which we work, stay and play. As we orchestrate and direct our company and business activities, we are excited and inspired to continue to sponsor the CSO - Classical Roots concerts & programming.

The A rts Mean Business©

 Classical Roots Presenting Sponsor

WORLD PAC PAPER, LLC 1821 Summit Road, Suite 317 y Cincinnati, OH 45237 (513)779-9595 y www.worldpacpaperllc.com CLASSICAL FRI MAR 6, 7:30 pm ROOTS Music Hall

DAMON GUPTON conductor CeCe WINANS vocalist CLASSICAL ROOTS COMMUNITY MASS CHOIR William Henry Caldwell, Resident Conductor NOUVEAU CHAMBER PLAYERS Marion Peraza de Webb, ensemble coach

LIFT EV’RY VOICE AND SING James Weldon Johnson, arr. Joseph Price Please sing along; text on page 31

FANFARE ON AMAZING GRACE Adolphus Hailstork

ANTHEM OF PRAISE Richard Smallwood, orch. Neal Gittleman

DEEP RIVER Traditional, arr. Mack Wilberg

LIBERTANGO Astor Piazzolla

MONEY, MISSISSIPPI LAMENT Jobe Huntley/Langston Hughes

THERE’S NO HIDING PLACE DOWN HERE Traditional, arr. R.H. Gillum

TOTAL PRAISE Richard Smallwood, orch. Neal Gittleman

INTERMISSION

BLACK, BROWN AND BEIGE Edward K. (“Duke”) Ellington, arr. Maurice Peress Black Brown (excerpt: “Come Sunday”) Beige

SELECTIONS BY CeCe WINANS Various Never Failed Me Yet Run to Him/Peace from God Alabaster Box Dancing in the Spirit

The CSO is grateful to Presenting Sponsor World Pac Paper, Community Impact Sponsor Fifth Third Foundation, and Artist Sponsor Jeffrey & Jody Lazarow and Janie & Peter Schwartz Family Fund of The Greater Cincinnati Foundation. The Classical Roots concert was made possible in part by support from the National Endowment for the Arts. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of Jeffrey & Jody Lazarow people who give generously to the ArtsWave Community Campaign. and Janie & Peter Schwartz Family Fund of The Greater Cincinnati Accessibility shuttle services provided by Croswell VIP Motorcoaches. Foundation Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

cincinnatisymphony.org | FANFARE CINCINNATI | 29 Fifth Third Foundation proudly supports Classical Roots 2020

Featuring the Cincinnati Symphony Orchestra and the Classical Roots Community Mass Choir— joined by best-selling gospel artist CeCe Winans.

Fifth Third Bank, National Association. Member FDIC. 4242455 LIFT EV’RY VOICE AND SING

Lift ev’ry voice and sing, We have come over a way that with tears ‘Til earth and heaven ring, has been watered, Ring with the harmonies of Liberty; We have come, treading our path through Let our rejoicing rise the blood of the slaughtered, High as the listening skies, Out from the gloomy past, Let it resound loud as the rolling sea. ‘Til now we stand at last Sing a song full of the faith that the dark past Where the white gleam of our bright star is cast. has taught us, Sing a song full of the hope that the present God of our weary years, has brought us; God of our silent tears, Facing the rising sun of our new day begun, Thou who hast brought us thus far on the way; Let us march on ‘til victory is won. Thou who hast by Thy might Led us into the light, Stony the road we trod, Keep us forever in the path, we pray. Bitter the chast’ning rod, Lest our feet stray from the places, our God, Felt in the days when hope unborn had died; where we met Thee, Yet with a steady beat, Lest, our hearts drunk with the wine of the world, Have not our weary feet we forget Thee; Come to the place for which our fathers sighed? Shadowed beneath Thy hand, May we forever stand, True to our God, CDs AVAILABLE! True to our native land. Erich Kunzel and the Cincinnati Pops’ Amen! A Gospel Celebration, featuring Jennifer Holliday, is for sale tonight in The Bravo Shop.

2019-20 Season

March 15/16, 2020 April 19/20, 2020 Miami String Quartet with Eric Kim The Cleveland Connection The critically acclaimed Miami String Jaime Laredo and Sharon Robinson Quartet performs with special guest cellist, celebrate musical friendships by performing Eric Kim. This vibrant program features with current and former Cleveland Orchestra [SVOWF]2EVXMRĽQIXEREERH,PE^YRSZưW members, Franklin Cohen, Stephen Rose, romantic and melodious Quintet for Strings. Lynne Ramsey, and Jeanne Preucil Rose. This program features a Mozart String Quintet and the beloved Clarinet Quintet Venues in Avondale & Loveland by Brahms.

Single & Student 513.381.6868 get close to the music Tickets Available LintonMusic.org

cincinnatisymphony.org | FANFARE CINCINNATI | 31

CLASSICAL ROOTS GUEST ARTISTS

DAMON GUPTON conductor An accomplished actor, Gupton graduated „ Previous Pops Performances: Gupton made his from the Drama Division of the Juilliard School Cincinnati Pops debut in November 2014 and, as in New York. He has had roles in television, fi lm Pops Principal Guest Conductor since September and on stage, including the Broadway produc- 2019, most recently led the Pops in its 2019 New tion of Bruce Norris’ Pulitzer Prize- and Tony Year’s Eve concert. Award-winning Clybourne Park, for which he „ Read more: damongupton.com received an AUDELCO nomination for Best A native of Detroit, Supporting Actor. Cincinnati Pops Prin- cipal Guest Conductor CeCe WINANS vocalist Damon Gupton served „ Previous CSO Performances: Debut as American Conducting „ Read more: cecewinans.com Fellow of the Houston Symphony and held the The best-selling and post of assistant conduc- most-awarded female tor of the Kansas City gospel artist of all time, Symphony. His conduct- CeCe Winans has long ing appearances include since cemented her the Orchestra of St. status as one of the most accomplished and Damon Gupton, © Damu Malik Luke’s, Detroit Sympho- ny, Baltimore Symphony, celebrated women in Cincinnati Pops, National Symphony Orchestra, modern music history. Toledo Symphony, Fort Worth Symphony, Recording and perform- Florida Orchestra, San Diego Symphony, Long ing as both a solo artist Beach Symphony, San Antonio Symphony, and as a duo with her Princeton Symphony, Orchestre Philharmonique brother BeBe, CeCe has de Monte Carlo, NHK Orchestra of Tokyo, Or- CeCe Winans infl uenced a generation questa Filarmonica de UNAM, Charlottesville of gospel and secular vocalists over the course Symphony, Brass Band of Battle Creek, New of her astonishing career. She’s been inducted York University Steinhardt Orchestra, Kinhaven into the Gospel Music Hall of Fame, the Hol- Music School Orchestra, Vermont Music Fes- lywood Walk of Fame, and the Nashville Music tival Orchestra, Michigan Youth Arts Festival City Walk of Fame, in addition to being named a Honors Orchestra, and Sphinx Symphony as Trailblazer of Soul by BMI and garnering multiple part of the 12th annual Sphinx Competition. NAACP Image Awards, Soul Train Awards, Es- He led the Sphinx Chamber Orchestra on two sence Awards, and more. She’s sold in excess of national tours with performances at Carnegie fi ve million albums in the U.S., topping the Gos- Hall and conducted the fi nals of the Seventh pel charts repeatedly while crossing over with Cliburn International Amateur Piano Competi- smashes like “Count On Me,” her stunning duet tion. Musical collaborations include work with with Whitney Houston from the multi-platinum Marcus Miller, Kenn Hicks, Brian Stokes Mitchell, Waiting to Exhale soundtrack, which sold two Byron Stripling, Tony DeSare, The Midtown Men, million copies and cracked the Top 10 on the Kathleen Battle and Jamie Cullum. Pop, R&B and Adult Contemporary charts. Gupton received his Bachelor of Music Edu- THE NOUVEAU CHAMBER PLAYERS cation degree from the University of Michigan. He studied conducting with David Zinman Marion Peraza de Webb, ensemble coach and Murry Sidlin at the Aspen Music Festival The goal of the Nouveau Program is to support and with Leonard Slatkin at the National Con- increased participation in classical music by ducting Institute in Washington, D.C. Awards African American and Latinx student musicians include the Robert J. Harth Conducting Prize by providing equitable opportunities for music and The Aspen Conducting Prize. Gupton is study and performance. The Nouveau Cham- the inaugural recipient of the Emerging Artist ber Players is a chamber music ensemble for Award from the University of Michigan School strings. The ensemble has weekly rehearsals and of Music and Alumni Society, and is a winner of frequent performances throughout the com- the Third International Eduardo Mata Conduct- munity and is active from September to May. ing Competition. Students must audition to participate. Nouveau Pre-Conservatory is a comprehensive training

cincinnatisymphony.org | FANFARE CINCINNATI | 33 GUEST ARTISTS: CLASSICAL ROOTS experience for students who are pursuing a ca- ensembles, and off ers theory classes. The PMW reer in music. The Pre-Conservatory consists of is a Founding School of the Carnegie Hall Royal weekly lessons, music theory, advising, chamber Conservatory Achievement Program. As a guest music coaching, large ensemble participation, teacher/clinician, she has taught at the Western and fi nancial assistance for summer music study Springs Suzuki Talent Education and Elmhurst and college auditions. Students who play fl ute, College in Chicago, the University of Vermont, oboe, clarinet, bassoon, French horn, trumpet, University of Louisville, University of Southern trombone, harp, violin, viola, cello and double Maine, Bermuda Music School, Conservatorio bass may audition for the program. de Bogotá and Simón Bolívar Conservatory in The musicians and resources of the CSO Venezuela. Peraza de Webb is also the director provide for an exceptional student learning and founder of the Encore Advanced Chamber environment, and all programs are designed Orchestra, a summer program at the University to help expand pathways for talented young of Cincinnati College-Conservatory of Music. musicians who are currently underrepresented Her principal teachers are José Francisco Del in classical music. Castillo (Simón Bolívar Conservatory), Margaret Pardee (Juilliard School), the Tokyo Quartet and Violinist and Nouveau ensemble coach MARION the Vermeer Quartet. PERAZA de WEBB began her musical career Nouveau Program Members as a member of Venezuela’s Youth Orchestra Kennedy Baker, violin Micah Ballard, bassoon System, El Sistema. As a member of the Simón Iva Calderon, cello Bolívar Symphony Orchestra she has toured Anthony Dorsey, violin Daniel Dorsey, cello Japan, France, Spain, Mexico, Colombia and Bra- Maxwell Fairman, violin zil, among others, and has performed on seven Bella Funk, French horn Alanna Jackson, violin recordings. She owns the Peraza Music Work- Trey Metcalf, tuba shop (PMW), where she teaches private violin Nilli Tayidi, viola Noah Torlop, viola lessons, coaches her award-winning chamber Ari Webb, cello Jason Zepahua, bassoon RED BOOMWHITE AND

Riverbend Music Center SAT JULY 4, 2020 John Morris Russell conductor Melinda Doolittle vocalist

34 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: CLASSICAL ROOTS

WILLIAM HENRY CALDWELL Caldwell is a native of Demopolis, Alabama. resident conductor He attended Stillman College in Tuscaloosa, Working with some of the Alabama, where he graduated magna cum world’s finest orchestral laude with degrees in Music and English. He conductors, William Henry did graduate studies at the University of Texas Caldwell has prepared at Austin for the Master of Music in Vocal Per- choruses for the India- formance degree, and continued study for the napolis Pops, Cincinnati doctorate at The Ohio State University and the Pops, Cincinnati May Fes- University of Cincinnati College-Conservatory tival, Cincinnati Symphony of Music with a cognate in choral conducting. Orchestra (CSO), Dayton Caldwell continues to sing as a lyric baritone Philharmonic Orchestra, and currently lives in Dayton. Dayton Bach Society, Vo- CLASSICAL ROOTS COMMUNITY MASS William Henry Caldwell cal Arts Ensemble, and CHOIR and DIRECTORS The Cleveland Orchestra. He has served as guest clinician for the Cincin- The Cincinnati Symphony Orchestra has con- nati Boychoir and the Young People’s Choral nected with local churches to form a Commu- Collective of Cincinnati. Currently Caldwell is nity Mass Choir for its Classical Roots concert. the Artistic Director for the Vocal Arts Mastery Some of the most highly regarded church music Program, which is a special after-school pro- ministers in the area, including David L. Fowler, gram for the city of Cleveland sponsored by the Sr., Church of the Resurrection; Ronald Logan, Cleveland Foundation and the Tri-C Creative Lincoln Heights Missionary Baptist Church; The Arts Division. He is resident conductor of the Rev. Dr. Marcellene Winfrey, Allen Temple CSO’s Classical Roots Community Mass Choir A.M.E. Church; and Geneva Woode, Quinn and of the Martin Luther King Jr. Celebration Chapel A.M.E. Church, have prepared the Choir. Chorus for The Cleveland Orchestra. The CSO and Classical Roots Community Caldwell continues to serve as an adjudicator Mass Choir would also like to thank Jason Al- at numerous choral competitions and festivals exander Holmes for assisting with preparation with the most recent being The Negro Spiritual of tonight’s choir performance. Festival of Detroit. Recently, he guest con- ducted choruses in Los Angeles and Cincinnati DAVID L. FOWLER, SR. is a native of Cincin- featuring works by African-American composer nati, having graduated from Walnut Hills High Glenn Jones. In 2003, Caldwell joined The Cleve- School. He earned a bachelor’s degree in music land Orchestra family when he was invited to from Ohio University and a master’s degree prepare the Martin Luther King Jr. Celebration in Educational Leadership from Wright State Chorus. Under his direction the Central State University. Fowler has taught both instrumen- University Chorus became the resident chorus tal and vocal music for more than 30 years in for The Cleveland Orchestra’s Martin Luther Cincinnati and Dayton until retiring in 2010. King Celebration until his retirement from Fowler has labored in the Lord’s vineyard all of Central State University in 2013. For 34 years, his life, and has held various minister of music Caldwell, who was a full professor of music, positions including, most recently, Macedonia served as conductor of the Grammy-nominated Living Word Fellowship in Springdale and Allen Central State University Chorus, and under his Temple A.M.E. Church in Roselawn. chairmanship, the Ohio Board of Regents rec- His outside activities include directing Purlie ognized the Department of Fine and Performing in Music Hall, serving on the planning commit- Arts as a Center of Excellence. The Central State tee for American Negro Spiritual Festivals, co- University Chorus can be heard on more than founding the Hanarobi Choir at UC, and soloist. six recordings on the Telarc label, including He has served as one of the music leaders for the Cincinnati Pops recordings Porgy and Bess, Classical Roots Choir since 2010, and he is the Blue Monday and Amen: A Gospel Celebration. Minister of Music at Church of The Resurrection. He is an active board member for the Dayton Performance Arts Alliance, the Rosenthal Foun- RONALD LOGAN, a member of Lincoln Heights dation for the Arts, the Cincinnati Children’s Missionary Baptist Church, has been a volunteer Choir, Dayton Public Radio WDPR, and the May leader for Classical Roots from the beginning. Festival. He is music director at historic First He’s a gospel singer who has performed with the Baptist Church of Dayton. Grammy Award-winning Charles Fold Singers

cincinnatisymphony.org | FANFARE CINCINNATI | 35 GUEST ARTISTS: CLASSICAL ROOTS and is a leader of the Gospel Music Workshop. educator. She taught music and the gifted and He is a choir director at his church and president talented program in Cincinnati Public Schools of the local chapter of Gospel Music of America, for 31 years. She has performed with various art- founded by Rev. James Cleveland. Logan, origi- ists, including Odetta, The Temptations, James nally from Louisville, KY, moved to Cincinnati at Brown and John Clayton, and has played with age 20 and has been here ever since. the Cincinnati Symphony Orchestra, Cincinnati Ballet Orchestra, Middletown Symphony and The Rev. Dr. MARCELLENE S. WINFREY is a Illinois Philharmonic Orchestra. She has worked pianist, organist and educator who has dedi- as pianist and choral director in preparation for cated her life to the performing arts. She has the CSO Classical Roots concerts under John performed with various artists, including the Morris Russell, Parks Concerts on the Green Rev. James Cleveland, Albertina Walker, Charles under Erich Kunzel, and Community Concerts Fold and Nikki Giovanni. Other collaborations under Carmon DeLeone. Woode was offi cially have included the Helen Steiner Rice Project, recognized in resolution No. R/11-2016 by Cin- Cincinnati Ballet Orchestra, Cincinnati Sym- cinnati Mayor Cranley and council as a legendary phony Orchestra, Carolfest, and Cincinnati historical recording artist of King Records. She Opera’s Opera Goes to Church. She is presently has successfully prepared young people for a musician for, and on the ministerial staff at, the college, choir and theater auditions, including historic Allen Temple A.M.E. Church. Broadway. She was program coordinator for the University of Cincinnati Young Scholars GENEVA L. KINARD WOODE earned Bachelor Program and an artist-in-residence for the CSO’s of Music degrees in piano and Music Education outreach programs. Woode is assistant minister from the University of Cincinnati College-Con- of music at Quinn Chapel A.M.E. Church. „ servatory of Music and is a pianist, composer and

PARTIES OF NOTE Gather with other music lovers and musicians to share food, drink and your passion for the CSO and Pops. Thanks to our generous party hosts, 100% of ticket revenue goes to support the Orchestra!

SWING INTO SPRING WITH JMR AND THEA 48 guests | $85

SUNDAY Hosted by: APR 19 | 4 PM John Morris Russell & Thea Tjepkema in Hyde Park

SUMMER STRINGS CELEBRATION 50 guests | $100 SACRED HEART SUNDAY Hosted by: MAY 3 | 5:30 PM Sandra & Stephen Joffe in Indian Hill

PARTY A FIFTH THIRD BETTER SUN MAR 29 • 5PM 50 guests | $60 ST. ROSE CHURCH THURSDAY Hosted by: Sacred sounds, then and now. After one of Bach’s most JUNE 4 | 5 PM Christine Schaub & Lars Anderson beloved cantatas, the VAE turns toward profound works (CSO Board Member), 5/3 Bank by four young and celebrated living composers.

Tickets on sale now!

PURCHASE TICKETS ONLINE vaecinci.com 1980-2020 cincinnatisymphony.org/pon 4OTH SEASON OR CALL THE BOX OFFICE 513.381.3300 513.381.3300

36 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: CLASSICAL ROOTS

CLASSICAL ROOTS COMMUNITY MASS CHOIR* Archie Armstrong Nancy Dempsey Jacqueline A. Gloria Parker- Kimberley Stewart Clemmie Armstrong Jill Dew Johnson Martin Kimberly Stewart Karen Arnold Keith Edmonson Jerome Johnson Carol Patton Patricia Strachan Danny Bell Letitia Edwards Lynette Johnson LaShaun Patton Robert Thacker Peg Bell-Lohr Praise Ekeng Sheila Johnson Renee Payne Rosa Thomas William Berry Minnie Everett Tamra Johnson Ashley Perry Donna Thompson Cornelia Binford Faith Fallings Cathy Jo Judge Joni Pipkins Laura Thompson Donita Binford Cassandra Fowler Dante Keeling Bridalveil (Veil) William Tillman Tonya Bishop-Gable David Fowler Patricia Kirkendall Powell Arnie Trombly Kim Branch Mary Franklin Sally Larson James Powell Marchelle Tubbs Yvonne Brantley Marqueta Freeman Julia Lawrence Ruth Powell Ramon Tubbs David Brentley Bunitta Frierson Lynda Lee Maxine Price Moore Miriam (Mimi) Valley Rosa Brinkman Trashanda Gantt Arnold Lewis Nancy Provine- Tony Waff ord Deanna Brown Joy Gazaway Gail P. Lewis Turner Noel Walton Jennie Brown Sandy Geiser Kathye Lewis- Natasha Reid Peresha Ward Mary Brown Janet Gibson Norman Gwen Rhodes Saundra Whigham To’Nia Caldwell Tosha Gibson Robert Lomax Diane Richardson Annie Williams Carol Cargile Barbara Gomes Melvin McGee Debbie Riley Joe Williams Tristan Cargile Kenora Graves D. McGruder Anna Russell Melanie Williams Janet Carter Brandon Hare Barbara McMullen Nneka Russell Vonda Willis Lisa Bouldin Carter Ciara Harper David Minor LaVerne Rutledge Carla Winfrey Ron Carter Jeannette Harrison Carolyn Mitchell- Janice Sanders Marcellene Winfrey Lenora Castleberry Natalie Hayes O’Bryant Cheryl Schaeff ner Rita Winters Robert Chess Debbie Hill Sharon Monroe Sherry Scott Brian Wirth Earnie Clark Ron Hoff man Alex Morton-Green Tia Seay Betsy Wones Charles Collins Jason Holmes Valarie Norman Price Sharon Shahalaie Geneva Woode Frank Collins MaryCarol Hopkins Carolette Norwood Lizelle Simmons Donte Woods Betty Connors Laura Hoyer Norbert O’Hare Calvin Singleton Deborah Woolfolk Joyce Cooper Margaret Irons Samuel Olakunle Branden Smith Latisha Wright Holloway Cynthia Cummins Dawann Jackson Omoshebi Eric Smith Katie Wyrick Shoneil Cunningham Trudy L. Jackson Margaret O’Leary Rayma Smith-Dye Eddie Yates Shonita Cunningham Yvette Jackson Tim Oliver Yolanda Spencer Ronando Yates Mary Darner Carol Johnson Shari Palmer Mildred Stallworth Amber David Carrie Johnson Pam Palmieri Romie Stephens * as of Feb. 16, 2020 Brandy Davis Gwendolyn Johnson Bettner George Stewart

2019-20 Season music for growing minds January – May

Winter Concerts High-Low, Fast-Slow, Let’s Go! Opposites attract when it comes to making music! We’ll have lots of fun listening to the DZYXIWXVMRKFEWWTMERSERHHVYQW[LMPIXLI] WLS[YWLS[MXưWHSRI[MXLQYWMGEPSTTSWMXIW (ER]SYWTSXEPPXLIHMǯIVIRGIW$

Spring Concerts MUSIC WITH MADCAP: The Story of the Gingerbread Man Brings families together for a 8LITMERSZMSPMRZMSPEERHGIPPSNSMR2EHGET musical encounter that provides 5YTTIXWXSXIPPXLIWXSV]SJ8LI,MRKIVFVIEH a friendly, educational, and fun 2ERXLVSYKLXLIQYWMGSJ'VELQW)SRưX introduction to classical music. QMWWXLIQYWMGWXSV]XIPPMRKERH[EVQ Saturday mornings thoughtout ERHJY^^]JYR the region! Tickets just $6 or $20 for four! Free cookies +EQMP]ERRYEPTEWWIWRS[EZEMPEFPI provided by: For a complete listing of dates & locations GEORGE L. & ANNE P. HELDMAN FUND visit LintonMusic.org/pbj or call 513.381.6868 OF THE GREATER CINCINNATI FOUNDATION

cincinnatisymphony.org | FANFARE CINCINNATI | 37 GUEST ARTISTS: CLASSICAL ROOTS

Classical Roots Community Mass Choir singers represent the following area churches:

New Nazarene Baptist Church Greater Liberty Baptist Church Word of Deliverance Ministries Landmark Church The Willing Baptist Church Our Lady of the Rosary Church Corinthian Baptist Church Mother of Christ Catholic Church Church Of The Resurrection Corinthian Baptist Church City Gate Church CityGate Church Allen Temple A.M.E. Church Christ Emmanuel Christian Fellowship New Vision United Methodist Church Lincoln Heights Missionary Baptist Church Bethel Baptist Church of Walnut Hills New Prospect Baptist Church Western Hills Brethren in Christ Church Zion Global Ministries College Hill Presbyterian Church Turning Point Church of Zion Union Baptist Church Christ the King—St. Jude Thaddeus Catholic Church Saint Anthony in Madisonville St. Anthony Parish Greater Liberty Baptist Church New Life Temple Crossroads Greater New Hope Missionary Baptist Church Heritage Universalist Unitarian Church New Hope Christian Center Revelation Missionary Baptist Church Christ Emmanuel Christian Fellowship Forever Praise Ministries Brown Chapel A.M.E. Church St. John’s Unitarian Universalist Church New Covenant Community Church of God LifeSprings Christian Church First Baptist Church of Dayton New Jerusalem Baptist Church Lee Chapel A.M.E. Church Consolation Baptist Church Praise Bethel A.M.E. Church The Redeemed Christian Church of God Dominion Centre Faith Temple St. Paul A.M.E. Church Faith United & New Life Church House of Joy Gray Road Church of Christ Zion Temple First Pentecostal Church Fresh Anointing Impact Church New Prospect Baptist Church Gray Road Church of Christ New Vision United Methodist Church Mt. Zion Missionary Baptist Church St. Andrew’s Episcopal 7 Hills Church Cincinnati Bible Way Church Quinn Chapel A.M.E. Church Greater Emanuel Apostolic Temple Peoples Church Tryed Stone New Beginnings Church New Mission Missionary Baptist Church * as of Jan. 30, 2020

38 | FANFARE CINCINNATI | cincinnatisymphony.org

Today is the day to see the world in a whole new way.

Music lives within all of us regardless of who we are or where we come from. That’s why PNC is proud to be the Pops Series Sponsor and to support the Cincinnati Symphony Orchestra and Cincinnati Pops.

©2020 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

CON PDF 0618-0106 POPS SERIES PROGRAM | 2019–2020 SEASON

SAT MAR 7, 8 pm | SUN MAR 8, 2 pm Music Hall AMERICAN ORIGINALS: THE CINCINNATI SOUND John Morris Russell, conductor Paul Shaffer, co-host, keyboards and vocalist Morgan James, vocalist Mykal Kilgore, vocalist Francisco Centeno, bass; Felicia Collins, guitar and vocals; Clint de Ganon, drums; Bradley Meinerding, guitar and mandolin

IT’S YOUR THING The Isley Brothers, arr. Mounsey THAT THING CALLED LOVE Mamie Smith, arr. Spangler The Lonesome Collection (arr. Mounsey) I’M SO LONESOME I COULD CRY Hank Williams LONESOME HEARTED BLUES Moon Mullican SEVEN LONELY DAYS Earl Shuman, Alden Shuman & Marshall Brown

JAMBALAYA (ON THE BAYOU) Hank Williams, arr. Berens I AM A MAN OF CONSTANT SORROW Traditional, arr. Mounsey FOGGY MOUNTAIN BREAKDOWN Earl Scruggs, arr. Mounsey HONKY TONK Billy Butler, Bill Doggett, Clifford Scott & Shep Shepherd, arr. Mounsey SHOUT! The Isley Brothers, arr. Mounsey INTERMISSION

KANSAS CITY (HERE I COME) Jerry Lieber & Mike Stoller, arr. Mounsey FEVER Eddie Cooley & Otis Blackwell, arr. Mounsey THE TWIST Hank Ballard, arr. Mounsey LAST KISS Wayne Cochran, arr. Mounsey THIS OLD HEART OF MINE Brian Holland, Lamont Dozier & Eddie Holland, arr. Mounsey I GOT THE FEELING James Brown, arr. Mounsey IT’S A MAN’S MAN’S MAN’S WORLD James Brown & Betty Jean Newsome, arr. Mounsey I GOT YOU (I FEEL GOOD) James Brown, arr. Berens

Program subject to change

The Cincinnati Pops Orchestra is grateful to Pops Series Sponsor PNC, Pops Artist Sponsor Lincoln of Cincinnati and Concert Sponsor Bardes Fund, Thomas and Halle Quinn. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts. Accessibility shuttle services provided by Croswell VIP Motorcoaches.

WVXU is the Media Partner for these concerts. Thomas & Halle Quinn The Cincinnati Pops in-orchestra Steinway piano, courtesy of The Jacob G. Schmidlapp Trust, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

cincinnatisymphony.org | FANFARE CINCINNATI | 41

GUEST ARTISTS: Mar 7–8

PAUL SHAFFER keyboards, composed special musical material „ Previous Pops Performances: Debut and, in 1980, became a featured performer. „ Read more: paulshaffer.net In 1977, he took a brief break from the show to star in the CBS comedy series A Year at the Top, produced by Norman Lear and Don Kirshner. After his return to Saturday Night Live, he collaborated with Gilda Radner on the songs for her Broadway show, in which he also appeared. He served as musical direc- tor for the Blues Brothers—John Belushi and Dan Aykroyd—for their triple platinum album and national tour. His guest starring television appearances include Ed, The Sopranos, Law & Order: Criminal Intent, Schitt’s Creek and How I Met Your Mother. Shaffer starred with Bill Mur- ray in, and was musical director for, the Netflix special A Very Murray Christmas, directed by

Paul Shaffer, courtesy CBS Sofia Coppola, for which he received his fourth EMMY® nomination. He continues his erstwhile For 33 years Paul Shaffer served as David Let- series of “mini-residencies” at Caesars Palace terman’s musical director and sidekick. in Las Vegas, performing at the iconic Cleopa- Shaffer began his career in 1972 as musical di- tra’s Barge. He recently performed with the rector of the Toronto production of Godspell. He Kalamazoo Symphony and the Nebraska Jazz played piano in The Magic Show on Broadway Orchestra, and has upcoming appearances in 1974, then spent the next five years with the with the Pittsburgh and Winnipeg symphony original Saturday Night Live, where he played orchestras. His new series of prime time radio

The Cincinnati Pops Orchestra would like to extend its sincere thanks to

Bardes Fund Thomas and Halle Quinn

cincinnatisymphony.org | FANFARE CINCINNATI | 43 GUEST ARTISTS: MAR 7–8 specials, Paul Shaffer + 1, is airing on SiriusXM, Simpson, Darius Rucker, Jenny Lewis, Dion, and premiered in September 2019 on AXS-TV. Shaggy and Bill Murray. Guests in the first season included Joe Walsh, His feature film roles include Artie Fufkin in Donald Fagen, Graham Nash, Buddy Guy and Rob Reiner’s This Is Spinal Tap. He also appeared Smokey Robinson. in the Mike Nichols-directed Gilda Live, the Bill In addition to recording his own albums, Coast Murray movie Scrooged, and with John Travolta to Coast (1989) and The World’s Most Danger- in Look Who’s Talking Too. He is heard as the ous Party (1993), Shaffer has recorded with such voice of Hermes in Disney’s animated feature diverse artists as Diana Ross, Yoko Ono, and Hercules and the television series based on the Robert Plant’s Honeydrippers. He composed the film. He produced the gold-selling soundtrack Late Show theme song and, with Paul Jabara, for and appeared in Blues Brothers 2000, and wrote the Number One global ‘80s dance hit composed original songs for the movie Strangers “It’s Raining Men,” performed by the Weather with Candy. He composed the theme songs for Girls and re-recorded by Geri Halliwell for the both David Letterman’s new Netflix series and Bill Bridget Jones’s Diary soundtrack, topping the Murray’s new Facebook series, and is currently British pop charts in 2001. In 2002, he received producing the music for Sofia Coppola’s latest his first GRAMMY®, Best Country Instrumental, film, On The Rocks, starring Bill Murray. for the Earl Scruggs and Friends album, and Shaffer has served as musical director and co-produced an avant-garde jazz album for producer for the Rock and Roll Hall of Fame his mentor, Tsziji Munoz. His latest album, Paul induction ceremony since its inception in 1986. Shaffer & The World’s Most Dangerous Band, He led the band for the “We Are the World” features such diverse guest vocalists as Valerie finale of Live Aid. Shaffer hosted CBS’s 1994

Q&A with Paul Shaffer

For 33 years, Paul Shaffer and turned me out as a what about served as David Letterman’s symphonic performer. He their music musical director and sidekick, may have mentioned me to turns you first on Late Night with David John, who then offered me on? Letterman (1982–1993) and this co-hosting gig with him Hank then on Late Show with celebrating The Cincinnati Williams David Letterman (1993–2015). Sound. He didn’t know how is hands Shaffer now tours with The fast I’d jump on this. down a World’s Most Dangerous genius of lasting contribution Band, the former NBC house What exactly is The Cincinnati whose songs I love. The Isley you band. Fanfare Cincinnati Sound to you? How do Brothers’ music has a special asked Shaffer about his define it? connection to me, but James upcoming appearance with I happen to have a 30-year Brown, the Godfather of Soul, the Cincinnati Pops and friendship with a chap named is my Soul Brother #1. We’ll his fascination with The Seymour Stein, who, before always be dancing to the stuff Cincinnati Sound, the theme he founded Sire records and he invented. of the March 7–8 Pops signed Madonna, apprenticed concert. in Cincinnati with Syd Nathan What do you think about at King Records. I’ve learned the color red? It seems to How did you connect with about King and so much other be JMR’s favorite, especially Cincinnati Pops Conductor influential Cincinnati music “Pops red.” John Morris Russell? And over the years. how did he talk you into co- To me red can be a sign of hosting a live performance danger, especially when it Which Cincinnati recording comes in one shade—Pops at Music Hall celebrating The artists from the days of King Cincinnati Sound? Red, the color of JMR’s Records and Herzog Studio performance jacket. But that’s It was probably Peter in the 40s, 50s, and 60s are the kind of danger I like. „ Gistelinck, who ran the your absolute favorites? And Kalamazoo Symphony

44 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: MAR 7–8

New Year’s Eve special from New York’s Times MORGAN JAMES

Square and was musical director of the closing „ Previous Pops Performance: New Year’s concert at the 1996 Summer Olympic Games. Eve 2017 He appeared with the Blues Brothers at the „ Read more: morganjamesonline.com, 1996 Super Bowl halftime show and was musical @morganajames on Instagram director of the 1999 Concert of the Century at Morgan James is a clas- the White House, featuring Eric Clapton, B.B. sically trained vocalist, King, Gloria Estefan, ‘N Sync and others, to aid Broadway veteran and music programs in public schools. He was Paul recording artist. McCartney’s musical director for Concert for Most recently, James New York and appeared with Faith Hill on the premiered a song cycle America: A Tribute to Heroes telethon, both of for voice and orches- which honored and raised money for victims of tra titled Song of The the Sept. 11, 2001 terrorist attacks. River, written for her by Paul Shaff er’s This Day in Rock, is a daily frequent collaborator interstitial feature nationally syndicated by and conductor Teddy Envision Radio. His best-selling memoir, We’ll Abrams, with the Lou- Be Here for the Rest of Our Lives, is published Morgan James isville Orchestra. by Random House. In concert, James has appeared with the Shaff er holds two honorary doctorate de- New Zealand Symphony, Rhode Island Phil- grees, was inducted into the National Black harmonic Orchestra, Malaysian Philharmonic, Sports and Entertainment Hall of Fame, and Britt Festival, Breckenridge Music Festival, was awarded a star on Canada’s Walk of Fame. Utah Symphony and the Colorado Symphony, In 2008, Shaff er received the Order of Canada, performing her solo Bernstein show. She has Canada’s highest civilian honor. He lives in the had the honor of being in the Bernstein MASS New York area with his wife and two children. four times, at Ravinia Music Festival and with the Louisville Orchestra, Philadelphia Orchestra and

$15 Kids’ Tickets MAY 1–3

Enjoy lush orchestral scores from DreamWorks favorites such as Shrek, Madagascar, Kung Fu Panda and How to Train Your Dragon, complete with film clips on the big screen.

cincinnatisymphony.org | FANFARE CINCINNATI | 45 GUEST ARTISTS: MAR 7–8

Baltimore Symphony at Carnegie Hall and the ern feels that highlight Kennedy Center. Morgan has also made exten- his ability to go from sive symphony pops appearances throughout Broadway Showtune the U.S. and Canada. storytelling to Soul and On Broadway, James appeared in the origi- Jazz scatting to Gospel. nal Broadway casts of Motown: The Musical, Kilgore was most recently Godspell, Wonderland and The Addams Family, seen on his Born Black as well as in Kristin Chenoweth’s For the Girls. tour and with India Arie As a recording artist, Morgan James has re- on her Worthy tour. The- leased six albums of music, including her newest, atre credits include The Memphis Magnetic. Her videos with Postmodern Witch in Into the Woods Jukebox and her own YouTube channel have at Barrington Stage Com- garnered over 200 million views. Mykal Kilgore pany, The Who’s Tommy Morgan James earned her music degree from at The Kennedy Center, The Juilliard School. Songs for a New World at Encores! Off -Center, Motown the Musical and Hair on Broadway, as MYKAL KILGORE well as Book of Mormon (fi rst national tour). He „ Previous Pops Performances: Debut has also appeared on TV and on fi lm with roles „ Read more: mykalkilgore.com in NBC’s Jesus Christ Superstar and The Wiz Live and Collateral Beauty. Mykal Kilgore is an award-winning actor and Kilgore has racked up 10 million-plus views NAACP Image Award nominated singer/song- on social media with his videos from Scott writer. His debut album, A Man Born Black, is Bradlee’s Post-Modern Jukebox (PMJ) and his a gumbo of American roots music and mod- viral “Reclaiming My Time” video. „

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BRUCE HORNSBY & THE NOISEMAKERS APR 14

46 | FANFARE CINCINNATI | cincinnatisymphony.org SATURDAYS 6:30PM ON CET SUNDAYS 8:30PM ON CET ARTS

Join Barbara Kellar as she showcases performing artists and cultural leaders from the Greater Cincinnati community.

Emmy Award Winner www.CETconnect.org RRegionl - Innttervview/Discuussiioon Programm

FOURTEENTH SUBSCRIPTION PROGRAM | 125th ANNIVERSARY SEASON

2019–2020 SEASON FRI MAR 13, 8 pm SAT MAR 14, 8 pm Music Hall

JONATHAN COHEN conductor THOMAS DUNFORD lute JOÉLLE HARVEY soprano

VIVALDI Concerto in D Major for Lute and Orchestra, RV 93 (1678–1741) Allegro giusto Largo Allegro

ZELENKA Simfonie à 8 concertanti in A Minor, ZWV 189 (1679–1745)

INTERMISSION

VIVALDI Trio Sonata in C Major, RV 82 Allegro non molto Larghetto Allegro

HANDEL Il delirio amoroso (“The Delirium of Love”), HWV 99 (1685–1759)

These performances will end at approximately 9:50 pm.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group and Presenting Sponsor The Kroger Co. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts. Accessibility shuttle services provided by Croswell VIP Motorcoaches. Pre-Concert Talks are endowed by Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. Listen to this program on 90.9 WGUC April 12, 2020 at 8pm and online at cincinnatisymphony.org April 13–19.

cincinnatisymphony.org | FANFARE CINCINNATI | 49 PROGRAM NOTES: Mar 13–14 © 2019–20 Cincinnati Symphony Orchestra

Although he is mostly associated with the city INSIGHTS of Venice where he famously worked for many from Music Director years at a girls’ orphanage known as the Os- pedale della Pietà, Vivaldi also traveled a great Louis Langrée deal, both on the Italian peninsula and beyond the Alps. In 1730, he visited Vienna and Prague, We are thrilled to welcome Jonathan accompanied by his father. While in Bohemia, he Cohen, a fantastic musician who is met a Czech aristocrat named Johann Joseph bringing a concert of Baroque jewels. In von Wrtby, a high official who went to the theater to see Vivaldi’s opera Farnace and who, typical Baroque style, Cohen will lead one presumes, may have been a lute player. In from the keyboard as a part of the basso any case, it was for him that Vivaldi wrote the continuo. Cohen and the Orchestra will solo concerto and his two trio sonatas with lute. be joined by two fabulous interpreters of What to Listen For Baroque music: Thomas Dunford, a true In the Concerto, the ritornello, or returning main master of the lute, will demonstrate the theme, of the first movement is characterized vibrant range of colors of this instrument, by a striking rhythmic pattern and a surprising and Joélle Harvey, with her unique voice, turn to the minor mode, with a scale moving in chromatic half-steps that give the music its mesmerizing presence and artistry, will individuality. The slow movement has a long, captivate us all in Handel’s masterpiece, sustained melody with a dotted rhythmic Il Delirio Amoroso. pattern that never changes. The final Allegro likewise has a constant rhythmic flow, which in this case is closer to a dance pattern. „„„ In the first movement of the Trio Sonata, RV 82, the lute introduces the sunny, gently rhythmic melody, while the violin plays a simplified version ANTONIO VIVALDI of the lute’s line. The second movement, in the Concerto in D Major for Lute minor mode, is hushed and quiet, with a melody and Strings, RV 93 built on small, accumulating descents and the Trio Sonata in C Major, RV 82 plucking of the lute emphasizing the broken feel „ Born: March 4, 1678, Venice, Italy of the melody. The third movement brings a more „ Died: July 28, 1741, Vienna, Austria vigorous, but no less cheerful, theme than the

„ Work composed: 1730 first. Here the violin plays staccato occasionally, „ Premiere: Presumably in the early 1730s, by the lutenist for whom each was written: Johann Joseph thus complementing the lute’s quick, athletic von Wrtby ornaments with its own sharp notes. „ Instrumentation: solo lute, solo violin (Trio Sonata), keyboard continuo, strings JAN DISMAS ZELENKA „ CSO notable performances: These concerts Simfonie à 8 concertanti in A Minor, are the Concerto’s CSO premiere using lute accompanied by the Orchestra; Carmon DeLeone ZWV 189 led the Orchestra in November 1978 performances „ Born: October 16, 1679, Louňovice pod Blaníkem, with Alexandre Lagoya as guitar soloist. These Bohemia (now Czech Republic) concerts also are the Trio Sonata’s CSO premiere. „ Died: December 23, 1745, Dresden, Germany Duration: approx. 9 minutes (Concerto) and 10 „ „ Work composed: 1723 minutes (Trio Sonata) „ Premiere: 1723, likely as part of the coronation ceremonies for Charles VI and Elizabeth Christina of Vivaldi used the lute in only four of his hundreds Bohemia of compositions. There are two trio sonatas for „ Instrumentation: 2 solo violins, 2 oboes, violin, lute and harpsichord; one concerto for bassoon, harpsichord, strings viola d’amore and lute; and the solo concerto— „ CSO notable performances: These concerts are which is really a piece of chamber music since the work’s CSO premiere. Duration: approx. 30 minutes it is originally scored for only two violins, lute „ and harpsichord continuo, without orchestra. While Vivaldi was visiting Prague, his Czech- Nowadays, however, it is often performed with born contemporary, Jan Dismas Zelenka, was orchestra like a “real” concerto, with the violin some 70 miles away in Dresden, where for many parts played by entire sections. years he worked for the Saxon royal court. (Offi-

50 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: MAR 13–14 cially, he was employed as a double-bass player, cello get solo turns at diff erent points. There are but he was in fact one of the main composers fi ve movements altogether, of which the fi rst is of church music in the Saxon capital.) Yet on at by far the longest. The extravagances to which least one occasion, Zelenka returned home for Stockigt has alluded have to do, in part, with an extended professional sojourn: in 1723, the the very length of this movement, which bears Holy Roman Emperor, Charles VI, and his wife the title “Simphonia.” The opening tutti section Elizabeth Christina, were crowned King and (ritornello) refuses to settle on a resting point Queen of Bohemia. The royal event required for more than 40 measures, with the musical a great deal of music, and Zelenka’s services phrase taking off in a new direction every time were needed. His main contribution was an one would expect it to end. The solo sections extended dramatic work about the Bohemian (for violin and oboe) are equally unpredictable, martyr St. Wenceslas, but he found time, while sprawling and harmonically adventurous. This in Prague, to write four major instrumental com- remarkable movement is followed by a lyrical positions with the word “concert[ant]” in their Andante with another “unending melody” for titles—each combining solo instruments and oboe, bassoon and violin over a continuo ac- orchestral writing in a diff erent way. According companiment. A short transition leads into a to Zelenka biographer Janice B. Stockigt, “these “Capriccio” in the tempo of a Gavotte dance. compositions defy classifi cation.” Speaking of The characteristic rhythm of this French dance the present Simphonie and its companion work form is clearly recognizable, but the melody Concerto, the musicologist notes the presence includes many “capricious” turns, such as a of “Italian formal and stylistic infl uences, with frequently returning fast scale that produces exotic, erratic, and capricious sections.” a striking eff ect. The word “capriccio” is used again in the subsequent “Andante da capric- What to Listen For cio.” Here the name is justifi ed by the fact that The “8 concertanti” doesn’t mean that there are the slow aria with which the music begins is eight solo instruments. Eight is the total number interrupted by an Allegro, which brings back of instrumental parts, and in the various move- motifs from the opening movement—and the ments, an oboe, a bassoon, two violins and a two tempos alternate from that moment on. A

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www.CETconnect.org PROGRAM NOTES: MAR 13–14 pair of graceful minuets concludes this highly the cantata, but the piece is, fi rst and foremost, individual work by a still-underrated and under- a spectacular vehicle for a great soprano and explored master. some equally outstanding players on violin, cello, oboe and recorder (the last two were probably GEORGE FRIDERIC HANDEL played by the same musician in Handel’s time). Il delirio amoroso (“The Delirium of Love”), HWV 99 What to Listen For The cantata consists of an overture, three „ Born: February 23, 1685, Halle, Saxony recitative/aria pairs, a second instrumental „ Died: April 14, 1759, London „ Work composed: 1707 movement and a closing minuet, with two brief „ Premiere: June 2, 1896, Paris, with the composer recitatives to indicate how the story ends. Both as soloist in the overture and the arias, Handel uses the Instrumentation: soprano soloist, solo violin, „ then-standard da capo form, which may be recorder, 2 oboes, keyboard continuo, strings represented by the formula ABA. The “B” sec- „ CSO notable performances: These concerts are the work’s CSO premiere. tions contrast in mood with the “A” sections, „ Duration: approx. 36 minutes which are subsequently repeated in an embel- lished form. Handel could never have had the glorious career After the overture, which features a fanfare- he enjoyed in England, had he not spent four like oboe solo, the soprano’s fi rst recitative formative years in Italy fi rst. By the time he describes Chloris, deeply distraught by her loss. traveled south in 1706, the 21-year-old Saxon Her fi rst aria, in which she searches for Thyrsis was already an accomplished keyboard virtuoso in heaven and in hell, includes a rather extrava- and had had two operas performed in Hamburg. gant violin solo that was presumably played But he needed a fi nal polish and, even more by Corelli. The dazzling fi reworks of this aria importantly, the contacts in the opera world contrast strikingly with the somberness of the and the aristocratic patronage without which second, where the soprano is joined by a solo no artist could survive. cello as Chloris confronts her unfaithful lover In Rome, Handel met musical luminaries like in Hell. The third aria (another virtuoso piece, Arcangelo Corelli, who became an important this time with a recorder solo) conveys the infl uence, as well as Corelli’s patron, Cardinal excitement of moving from a desperate place Pietro Ottoboni, in whose palace a great deal of to a world of peace. That world is announced music was played. Another Cardinal, Benedetto in an instrumental movement marked “Entrée” Pamphili, also took the young German under his and a gentle dance movement to end the work wing. Pamphili was an amateur poet, and Handel on a happy note. set several of his texts to music—including the —Program notes by Peter Laki present cantata for soprano and instrumental ensemble. Text and Translation on next page… This early work shows many of the qualities that made Handel such a great opera composer. He rendered the human drama in the plot with great sensitivity and expressive power, and at „ the same time, provided musical entertainment GLOSSARY OF MUSICAL TERMS on the highest level, with a breathtaking display of vocal and instrumental virtuosity for the Allegro: fast; a fast movement audience to enjoy. Continuo: (in Baroque music) an The dramatic situation Pamphili imagined could accompanying part that includes a indeed be expanded to a full-length opera. The bassline and harmonies, typically played fate of the lovers Thyrsis and Chloris, frequent on a keyboard instrument and with other characters in Renaissance pastoral poetry, has taken a tragic turn: Thyrsis left Chloris and then instruments such as cello or lute died. Chloris goes to the underworld to join her Giusto: strict, exact lover but he turns away from her even there. Af- Largo: slow, a slow movement ter this second painful rejection, Chloris crosses Motif: a recurring theme that can be the river Lethe—the river of oblivion—into the recognized in a variety of contexts peaceful Elysian fi elds where she fi nally fi nds Tutti: all instruments together solace to her grief. Visions of Heaven and Hell, despair, hope and consolation are all present in

cincinnatisymphony.org | FANFARE CINCINNATI | 53 PROGRAM NOTES: MAR 13–14

IL DELIRIO AMOROSO a a quel giorno fatale, Since that fatal day che tolse morte il crudo Tirsi a Clori, when death took unkind Thyrsis from Chloris, ella per duolo immenso, she, in her immense grief, sciolto il crin, torvo il guardo, her hair disheveled, her expression haggard, incerto il piede, her steps uncertain, par ch’abbia in sè due volontà, due cori has seemed to have within her two wills, two hearts; e del chiaro intelletto, and, with the light of her bright intellect SHUJUDQ¿DPPDG¶DPRU FRQIXVHGE\ORYH¶VJUHDWÀDPH turbato il raggio, ora s’adorna, sometimes she adorns herself, ora del crin negletto fa dispettoso oltraggio; sometimes she spitefully disarranges her unkempt hair; e varia nel pensier, ma sempre bella, and erratic in her thoughts, but always beautiful, agitata così, seco favella. in agitation she thus converses with herself.

ra 8QSHQVLHURYROLLQFLHO /HWDWKRXJKWÀ\XSWRKHDYHQ se in cielo è quella alma bella, if in heaven is that lovely soul, che la pace m’involò. who stole my peace of mind. Se in Averno è condannata If he is condemned to Hell per avermi dispreata, for having scorned me, io dal regno delle pene I shall snatch back my treasure il mio bene rapirò. from the kingdom of punishments.

a Ma fermati, pensier Pur troppo è vero But stay, my thought It is only too true che fra l’ombre d’Averno that he is condemned among the shades of Hell è condannato per giusta pena, for just punishment, e per crudel mio fato. and for my cruel fate. Sì, sì, rapida io scendo es, yes, swiftly I’ll go down a rapir il mio bene dell’arsa ite to snatch my beloved from the burning shores DOOHLQIRFDWHDUHQH RI3OXWR¶V¿HU\FLW\ Ma che veggio? But what do I see? imira il mio sembiante dispettosa, A wandering shade gaes scornfully SRLIXJJHXQ¶RPEUDHUUDQWH RQP\IDFHWKHQÀHHV Tirsi, o Tirsi, ah, crudele Thyrsis, ah cruel Thyrsis

ra Per te lasciai la luce, or you I left the light, ed or che mi conduce and now that love brings me amor per rivederti, to see you again, tu vuoi partir da me. you want to leave me. eh ferma i passi incerti, Ah, stay your hesitant steps, RSXUVHYXRLIXJJLU RULI\RXZLVKWRÀHH dimmi perché? tell me, why?

a on ti bastava, ingrato, as it not enough for you, ungrateful wretch, d’avermi in vita lacerato il core? to have broken my heart in life? opo l’ultimo fato, After your death, siegui ad esser per me furia d’amore; you go on being to me a tormentor of love; ani ti prendi a scherno you even mock ch’io venga teco ad abitar l’inferno. my coming to stay with you in Hell. Ma pietà per rigore ti renderò. But I will return kindness for your cruelty. Su vieni al dolce oblio di Lete; Come now to the sweet oblivion of Lethe; indi daranno pace gli Elisi, Elysium will then grant peace to the torment DOJLjVRႇHUWRDႇDQQR ZHKDYHDOUHDG\VXႇHUHG

ra Lascia omai le brune vele, Abandon now your dark sails, negro pin di legetonte. black ship on Phlegethon. ,RIDUzFKHXQ]HႈUHWWR ,ZLOOFDXVHDEUHH]H per diletto, for your delight, spiri intorno a te fedele, to blow faithfully around you, e che mova i bianchi lini and wafts your pelegrini white wandering sails, in Acheronte. away to Acheron.

54 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: MAR 13–14

a Ma siamo giunti in Lete. But we have arrived at Lethe. Odi il suono soave degli Elisi beati. Listen to the sweet sound of blessed Elysium.

nu In queste amene On these serene piaggie serene, and delightful shores, GDVqULGHQWH HYHU\ÀRZHU QDVFHRJQL¿RU VSULQJVXSRILWVHOIVPLOLQJ Tra suoni e canti, Amid playing and singing, sempre clemente, lovers whisper spiran gli amanti an ever-gentle aura d’amor. breath of love. Pietà, valore, Pity, valor, gloria ed onore, glory and honor, chi può negarmi who can deny me giusta mercè? a just reward? 6DUDQOHSHQH 6XႇHULQJZLOOWXUQ piacer del bene, to the joy of happiness, FKHGHYHGDUYL ZKLFKORYHDQG¿GHOLW\ amor e fé. must give you.

a Sì disse Clori; e se d’un sole estinto So spoke Chloris; and even if she never again più non vide il bel lume, saw the lovely light of a sun now extinguished, lo vide almen per fantasia dipinto. at least she saw him depicted in her imagination.

—Translation by Terence Best, from Hallische Händel-Ausgabe [new critical edition of Handel’s works]

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JONATHAN COHEN conductor du Roy and continues his collaboration with the „ Previous CSO Performances: Debut Saint Paul Chamber Orchestra. „ Read more: askonasholt.com/artists/ Cohen founded Arcangelo in 2010, who strive jonathan-cohen to perform high quality and specially created projects. He has toured with them to exceptional Jonathan Cohen has halls and festivals, including Wigmore Hall Lon- forged a remarkable don, Philharmonie Berlin, Kölner Philharmonie, career as a conductor, Vienna Musikverein, Salzburg Festival and cellist and keyboardist. Carnegie Hall New York. They made their Proms Well known for his pas- debut at the Sam Wanamaker Playhouse in sion and commitment to 2016 and returned to the Proms in 2018 to pre- chamber music Cohen sent Theodora to a sold-out Royal Albert Hall. is equally at home in They repeated this performance at the Wiener such diverse activities Konzerthaus in January 2020, and their 10th as baroque opera and anniversary celebrations also include a perfor- the classical symphonic mance of Haydn’s The Creation at the Barbican repertoire. He is Artistic Centre. Arcangelo are also much in demand Director of Arcangelo, in the recording studio, partnering with fi ne Jonathan Cohen, © Marco Borggreve Music Director of Les soloists such as Iestyn Davies, Anna Prohaska, Violons du Roy, Artistic and Christopher Purves for Hyperion Records; Director of Tetbury Festival, and Artistic Partner Vilde Frang on Warner Classics; Christiane Karg of the Saint Paul Chamber Orchestra. and Matthew Rose; and Nicolas Altstaedt. Their During the 2019–20 season he makes return Buxtehude Trio Sonatas, Op. 1 earned a 2018 visits to the Orchestra of the Age of Enlighten- Grammy nomination for Best Chamber Music/ ment, Budapest Festival Orchestra and Iceland Small Ensemble Performance, and their recent Symphony Orchestra, and he debuts with the recordings of Magnifi cats by members of the Handel and Haydn Society, Lucerne and Cin- Bach family and Charpentier’s Leçons de ténè- cinnati symphony orchestras, and the Scottish bres both attracted critical acclaim. Ensemble. He tours the U.S. with Les Violons

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THOMAS DUNFORD lute London’s Wigmore Hall, Washington D.C.’s „ Previous CSO Performances: Debut Kennedy Center, the Vancouver Recital Society, „ Read more: thomas-dunford.com Cal performances at Berkeley, the Banff Center, and the Palau de la Musica in Barcelona, as well Born in Paris in 1988, as the festivals of Saintes, Utrecht, Maguelone, Thomas Dunford dis- Froville, TAP Poitiers, WDR Cologne, Radio covered the lute at the France Montpellier and Saff ron Hall. He has also age of nine, thanks to performed further afi eld throughout the U.K., his first teacher Claire in Europe, in South America, and in the United Antonini. He completed States, Israel, China, Japan and India. his studies in 2006 at the Thomas Dunford’s fi rst solo CD, Lachrimae Conservatoire de Paris (Alpha label, 2012), was unanimously acclaimed (CRR), when he earned by critics and was awarded the Caecilia prize a unanimous First Prize of 2013, with BBC Music calling him the “Eric with honors in the class Clapton of the lute.” His second CD, Labirinto of Charles-Edouard Fan- d’Amore, with mezzo-soprano Anna Reinhold, tin. He continued his Thomas Dunford, © Julien Benhamou was awarded the Choc from Classica magazine. studies at the Schola The most recent recordings in his extensive Cantorum in Basel with Hopkinson Smith, and discography include works of Bach arranged for participated in several masterclasses with artists lute, music of Vivaldi with the Jupiter ensemble, such as Rolf Lislevand and Julian Bream, and and Bach traverso suites with les Musiciens de in workshops with Eugène Ferré, Paul O’Dette, Saint Julien (all on Alpha). Pascale Boquet, Benjamin Perrot and Eduardo Dunford is regularly in demand, playing a Eguez. He was awarded his bachelor’s degree variety of early plucked string instruments in 2009. with chamber ensembles worldwide. He also is In 2003–05, Dunford gave his fi rst perfor- attracted to a wide variety of music including mances playing the role of the lutenist in Shake- jazz, and collaborates in chamber music projects speare’s Twelfth Night on stage at the Comédie with a long list of distinguished conductors and française. Since then, he has played recitals in soloists. New York’s Carnegie Hall and Frick Collection,

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JOÉLLE HARVEY soprano conducted by Jaap van Zweden, and with the „ Previous CSO Performances: Debut London Philharmonia with Jakub Hrůša con- „ Read more: joelleharvey.com ducting. She reprises the role of Serpetta in La fi nta giardiniera on tour in Shanghai with Teatro A native of Bolivar, New alla Scala, and returns to the San Francisco Sym- York, soprano Joélle phony for Brahms’ Ein deutsches Requiem led Harvey has established by Michael Tilson Thomas, as well as the Santa herself over the past Barbara Symphony for Beethoven’s Mass in C. decade as a noted in- Her season also includes appearances with the terpreter of a broad Philadelphia Chamber Music Society for their range of repertoire, Emerging Voices series, the Chamber Music specializing in Handel, Society of Lincoln Center for a concert in Alice Mozart, and new music. Tully Hall featuring songs of Schubert, Chausson The 2019–20 season and Harbison, and the Cincinnati Symphony for features important de- Handel’s Il Dilirio Amoroso. buts for Joélle Harvey, Joélle Harvey is the recipient of a 2011 First as she performs Pamina Joélle Harvey, © Arielle Doneson Prize Award from the Gerda Lissner Founda- in Die Zauberfl öte with tion, a 2009 Sara Tucker Study Grant from both The Metropolitan Opera and Santa Fe the Richard Tucker Foundation, and a 2010 Opera. She returns to The Cleveland Orchestra Encouragement Award (in honor of Norma for Mahler’s 4th Symphony as well as Mozart’s Newton) from the George London Foundation. Mass in C Minor, a work she also performs She received Second Prize in Houston Grand with the Handel & Haydn Society. Mahler’s 2nd Opera’s 2008 Eleanor McCollum Competition Symphony features prominently in her season’s for Young Singers, and is a recipient of the work, serving as a return to both the St. Louis Shoshana Foundation’s 2007 Richard F. Gold Symphony and the New York Philharmonic, Career Grant. „ with performances in New York and on tour

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2019–2020 SEASON FRI MAR 27, 11 am SAT MAR 28, 8 pm Music Hall

PETER OUNDJIAN conductor EMANUEL AX piano

MOZART Concerto No. 20 in D Minor for Piano and Orchestra, K. 466 (1756–1791) Allegro Romanza Rondo: Allegro assai

INTERMISSION

SHOSTAKOVICH Symphony No. 8 in C Minor, Op. 65 (1906–1975) Adagio—Allegro non troppo Allegretto Allegro non troppo Largo Allegretto

These performances will end at approximately 1 pm Friday, 10 pm Saturday.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group and Presenting Sponsor Edward Jay Wohlgemuth. The appearance of Emanuel Ax is made possible by an endowed gift to the Fund for Great Artists by Mr. and Mrs. Joseph S. Stern, Jr.. These concerts are endowed by Martha Anness, Priscilla Haffner & Sally Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a long-time patron Edward Jay of the Symphony. Wohlgemuth The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts. Accessibility shuttle services provided by Croswell VIP Motorcoaches. Pre-Concert Talks are endowed by Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. Listen to this program on 90.9 WGUC April 12, 2020 at 8pm and online at cincinnatisymphony.org April 13–19.

cincinnatisymphony.org | FANFARE CINCINNATI | 61 PROGRAM NOTES: Mar 27–28 © 2019–20 Cincinnati Symphony Orchestra

WOLFGANG AMADEUS MOZART INSIGHTS Concerto No. 20 in D Minor for Piano and from Music Director Orchestra, K. 466 Louis Langrée „ Born: January 27, 1756, Salzburg, Austria „ Died: December 5, 1791, Vienna „ Work composed: 1785 We welcome back to Cincinnati Emanuel „ Premiere: February 11, 1785, Vienna (Mehlgrube Ax and Peter Oundjian, two wonderful Casino), with the composer as soloist „ Instrumentation: solo piano, flute, 2 oboes, 2 and faithful friends of the Orchestra. bassoons, 2 horns, 2 trumpets, timpani, strings Mozart’s Piano Concerto No. 20 is one „ CSO notable performances: 19 previous subscription weekends | Premiere: March 1921, of the few Mozart concertos to be Eugène Ysaÿe conducting; Ossip Gabrilowitsch, performed continually since its premiere pianist | Most recent: February 2012, Xian Zhang conducting; David Fray, pianist | Emanuel Ax in 1785. It fascinated generations of previously performed the Concerto here on his CSO composers and performers such as debut under Thomas Schippers in October 1976. In February of 1966 Artur Rubinstein was soloist Beethoven, Brahms, Hummel, and Clara for a “special” concert. Hans Barth performed the Schumann, who not only performed this Concerto on harpsichord in 1930. „ Duration: approx. 30 minutes concerto, but also wrote cadenzas for it. Its pre-Romantic tone and energy, its From time to time in the history of human affairs someone has altered the course of fraught solo vs. orchestra relationship, Western culture by creating a corpus of work so and its sheer emotional content make it monumental in its extent and so profound in its content as to become permanently influential in one of the most beloved concertos in the its effect. Perhaps the plays of Shakespeare, the repertoire. It is a special joy to welcome etchings of Dürer, the architecture of Palladio, back Manny Ax, one of the great Mozart the novels of Dickens, the paintings of Monet, and the symphonies of Beethoven may serve interpreters, who plays the same piece as examples of such extraordinary bodies of that he performed for his CSO debut in works, which in quantity, quality, and influence 1976. mark epochs in the history of culture. People could not stop thinking, talking, and writing Peter Oundjian will lead two works that about them then, nor can we now. They may seemingly contrast but share the same go in and out of fashion, they may be imitated journey from darkness to light: one a or reacted against, but they never entirely disappear from our historical consciousness bridge between galant aesthetics and nor from the workings of our culture. They are romantic ideals, the other a reflection of part of what makes a civilized life worth living. I regard Mozart’s piano concertos as belonging Stalin’s Russia, which in Shostakovich’s to that select list of mind- and culture-altering music resonates “from tragedy to accomplishments. triumph.” Shostakovich’s “Stalingrad” —Neal Zaslaw, Mozart’s Piano (Ann Arbor, 1996) symphony is a pillar of the orchestral Concertos repertoire. It has a Mahlerian tone and Mozart’s concert series in Vienna in the mid- atmosphere, filled with raw and manic 1780s, for which he wrote many of his greatest concertos, was one of the most successful energy, volcanic intensity, frightening ventures in the composer’s short life. Moreover, sarcasms and lyrical beauty. it is no exaggeration to say that the piano concerto as a genre owes its existence to this undertaking of Mozart’s. Certainly there had „„„ been keyboard concertos earlier, but by writ- ing so many compositions in the same form, Mozart developed the concept of genre, in the sense of many compositions sharing essential features while at the same time preserving their individuality. In Mozart’s concertos, the external form (three movements in the order of

62 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: MAR 27–28 fast-slow-fast) never changes. The alternation the minor mode; they create a special dramatic of orchestral and solo sections is determined quality throughout the concerto. The entrance by more or less stable patterns. The second of the solo piano, on a new theme filled with movements tend to be lyrical, and the finales intense pain and longing, adds a new dimen- spirited and lively. Nonetheless, the diversity sion to the emotional range of the movement. behind this apparent uniformity is astonishing. The tension is so strong that a coda of unusual No two concertos are alike in the details of length is required after the cadenza before the elaboration, and Mozart’s endless melodic and music can calm down. harmonic imagination endows every single work The second movement “Romanza,” in B-flat with a personality of its own. major, is lyrical and peaceful, or so it seems at Concerto No. 20 is one of only two Mozart the beginning. Its G-minor middle section, how- concertos, out of a total of 27, written in a minor ever, thrusts us right back into the stormy atmo- key. The minor mode had a special meaning for sphere of the first movement. The preparation the masters of Viennese classicism, in whose for the return of the initial theme is particularly works the choice of this mode usually goes hand masterful and atmospheric. in hand with a heightened sense of drama and The final Rondo returns once again to the a whole set of specific harmonic, rhythmic, and impassioned mood of the first movement, but textural devices that we don’t often encounter moves from there to a brighter, more cheerful in compositions written in the major. It is in section in D major, representing, in the words such works that we may perceive the first signs of one commentator, “a victory of serenity over of musical Romanticism before it became the the tumultuous anxiety of earlier moments.” dominant style of the early 1800s. The D-minor was the only Mozart concerto Beethoven ever DMITRI SHOSTAKOVICH performed (he even wrote down the cadenzas Symphony No. 8 in C Minor, Op. 65 he played). It appealed to 19th-century ears „ Born: September 25, 1906, St. Petersburg more than did any other of the concertos; „ Died: August 9, 1975, Moscow it reminded listeners of Mozart’s opera Don „ Work composed: 1943 Giovanni, with which it shares its principal key „ Premiere: November 4, 1943, Moscow, Yevgeni and its dramatic intensity. Mravinsky conducting Instrumentation: 4 flutes (incl. 2 piccolos), 2 Like most of the piano concertos Mozart „ oboes, English horn, 2 clarinets, E-flat clarinet, bass composed for his own use in his subscrip- clarinet, 3 bassoons (incl. contrabassoon), 4 horns, tion series in Vienna (a total of 14 works), 3 trumpets, 3 trombones, tuba, timpani, bass drum, the D-minor was written in great haste and bass drum with attached cymbal, crash cymbals, completed just a day before the performance. snare drum, suspended cymbals, tam-tam, tambour de basque, triangle, xylophone, strings Mozart’s father Leopold, himself a composer „ CSO notable performances: 6 previous and violinist, was visiting from Salzburg at the subscription weekends | Premiere: March 1946, time, and wrote to his daughter Maria Anna Eugene Goossens conducting | Most recent: (nicknamed “Nannerl”), a talented pianist October 2008, Vasily Petrenko conducting and former child prodigy, after the concert: „ Duration: approx. 61 minutes “…Then we had a new and very fine concerto by Shostakovich needed no words to make his Wolfgang, where the copyist was still copying audience understand exactly what he meant. when we arrived, and the rondo of which your No one attending the premiere of the Eighth brother didn’t even have time to play through, Symphony could have any doubt that it was as he had to supervise the copying.” a deeply tragic work, which caused consider- able disappointment among officials who had What to Listen For expected the composer to continue in the vein The unique character of the concerto is appar- of his Seventh (the “Leningrad Symphony”) ent from the start. Whereas most Mozart con- and celebrate the heroism of the Soviets during certos begin either with a powerful statement World War II. Yet the jarring dissonances, the for full orchestra or a soft lyrical melody, the cruelly persistent march rhythms, and brutal D-minor opens with more amorphous material: fortissimos of the Eighth told a different, and a syncopated rhythm on a single repeated note all-too-clear, story. that evolves into a recognizable theme only Certainly, the war gave Shostakovich, as well gradually. Syncopations (shifted musical em- as everyone else, much to grieve about, but phases) and chromaticism (“coloring” pitches what makes this work great is that Shostakovich outside the ones that make up the main key) are was able to transcend the concrete level and two “irregular” musical devices characteristic of

cincinnatisymphony.org | FANFARE CINCINNATI | 63 PROGRAM NOTES: MAR 27–28 connect to the tragic symphonies of the past culminating in some harsh dissonances where and, most notably, those by Mahler who was an the strings have to play their pizzicatos (plucked abiding infl uence. notes) “with such force that the string should hit the fi ngerboard after the attack” (Shosta- What to Listen For kovich’s written instruction in the score). It is The tragic character of this fi ve-movement only now, some 15 minutes into the symphony, symphony is evident from the start. The fi rst that we reach the faster section and the earlier movement is a lament of gigantic proportions, themes return with stronger rhythmic profi les. essentially slow but interrupted by a violent At the end of this development, there is what middle section. It is, in other words, a sort of seems a blood-curdling scream—an almost ABA form, where the thematic materials of the graphic description of sheer horror. After this, two sections are closely related. the music unwinds with a rather long and quiet The opening theme, played by the strings in English horn solo, derived from the fi rst mea- two-part imitation, projects a feeling of gravity sures of the symphony. The movement ends in that is further accentuated by the sharp dotted a mysterious pianissimo. rhythms. This beginning resembles the open- The second movement follows the traditional ing of Shostakovich’s Fifth, but this time, the outline of the scherzo without being the slight- composer draws a diff erent conclusion from est bit humorous. The extreme simplicity of a similar premise. Soon we hear a lyrical violin the themes and the unexpected sharp accents, theme that shares its melodic outline with the characteristic of scherzos, are preserved, but famous war theme from the Seventh, combin- here they seize the listener by the throat with ing it with the dotted rhythm of the fi rst theme. an elementary dramatic force. Another melody, played fi rst by the violins and This tension-fi lled music alternates with pas- then by the English horn, sounds like a song of sages where the lighter tones of the piccolo mourning. But then, the previous violin theme fl ute and piccolo clarinet (clarinet in E-fl at) returns with its character completely changed, predominate. Still, the relentless chromaticism now agitated almost to the point of hysteria, and unpredictable rhythmic patterns of these

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64 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: MAR 27–28 solos are rather unsettling, and before long ated a movement that seems to depict cruelty they turn into something positively menacing and inhumanity. The middle section with its as the entire orchestra takes them over. This frivolous trumpet solo brings no relief, and the “trio” or middle section gradually merges into quote of the “Sabre Dance” from Khachaturian’s the recapitulation of the frantic scherzo; then then-recent ballet Gayane—apparently a bitter the melody formerly played parody—only reinforces our by the piccolo is given to the eerie feelings. The return of strings playing in triple forte “I came home from the the main section culminates and marcatissimo, accompa- performance astounded: in another scream, similar to nied by harsh repeated notes I had heard the voice of the one in the fi rst movement. in the brass and a persistent The music gradually calms drumbeat. In the coda, the an ancient chorus from down, and the fourth move- themes of the scherzo and Greek tragedy. Music ment begins. It is a pas- the trio are combined as the sacaglia (variations on an dramatic tension reaches its has a great advantage: unchanging ground bass) high point. without mentioning whose theme derives from The third, fourth and fi fth anything, it can say the first movement. By in- movements are played with- cluding many notes outside out a break. The third move- everything.” the main key, Shostakovich ment continues the macabre extends traditional tonality scherzo tone of the second, but sounds even and thereby maintains a level of harmonic ten- more ferocious. The gestures are even more sion. Eventually, however, the tension subsides brutal than in the previous movement, as and the fi fth movement is the fi rst in the sym- the rhythm is reduced to an even stream of phony to strike a more peaceful tone. quarter-notes and the melody to an octave It is not the kind of jubilant (or even pseudo- leap followed by a minor ninth. By his obsession jubilant) fi nale found in the Fifth and Seventh with such primitive devices, Shostakovich cre- symphonies; rather, it is a sort of meditation

MOZART’S PARIS MAY 8–9

Louis Langrée conductor Philippe Bernold flute Emmanuel Ceysson harp

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PROGRAM NOTES: MAR 27–28 on the past crises. The form of the movement is based on the classical sonata-rondo in which „ a main theme keeps returning after various GLOSSARY OF MUSICAL TERMS episodes (one of which also returns). The lyrical Adagio: slow; a slow movement character of this theme never changes (with one Allegretto: light, graceful and moderately notable exception), and this creates a sense of fast in tempo stability that has been missing from the sym- Allegro: fast; a fast movement phony so far. Only once, around the middle of Assai: the movement, does the music become more Cadenza: agitated as the main theme is taken over by the virtuosic passage for an brass, and a dramatic climax, similar to those unaccompanied soloist, usually in a in the fi rst and third movements, develops. But concerto ultimately, peace and harmony prevail, and the Coda: ending section symphony fades away in a dream-like pianis- Fortissimo: very loud simo. After so much turmoil, the music fi nds its Largo: slow, a slow movement long-awaited rest, affi rming, perhaps, that all Marcatissimo: with very strong the suff ering has not been in vain. accentuation After the fi rst performance of Shostakovich’s Minor ninth: an interval leap of an octave Eighth Symphony, Ilya Ehrenburg wrote: plus one semi-tone, e.g., from C to the I came home from the performance astounded: D-flat above the next C on the piano I had heard the voice of an ancient chorus from Non troppo: not too much Greek tragedy. Music has a great advantage: Octave: an interval leap from, e.g., C to the without mentioning anything, it can say next C above or below on the piano everything. Rondo: —Program Notes by Peter Laki a composition built on the alternation of a principal recurring theme and contrasting episodes Scherzo: fast, light-hearted piece

NEW! Starting CINCINNATI SYMPHONY ORCHESTRA SEP 2020

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cincinnatisymphony.org | FANFARE CINCINNATI | 67 GUEST ARTISTS: Mar 27–28

PETER OUNDJIAN conductor top ensembles and served as a major creative „ Previous CSO Performances: Four previous, force for the city of Toronto. Oundjian led the including his debut in March of 2000 and his most orchestra on several international tours, and recent in February 2015. he conducted the fi rst performance by a North „ Read more: peteroundjian.com American orchestra at Reykjavik’s Harpa Hall in 2014. Oundjian and the TSO’s recording of Recently named conduc- Vaughan Williams’ orchestral works won a tor emeritus of the Toron- JUNO Award for Best Classical Album: Large to Symphony Orchestra Ensemble in 2019. (TSO), Peter Oundjian Oundjian served as Music Director of the Royal has been hailed as a mas- Scottish National Orchestra 2012–18. He led the terful and dynamic pres- RSNO on several international tours, and his ence in the conducting fi nal appearance with the orchestra as Music world. He has developed Director was at the 2018 BBC Proms, where he a multi-faceted portfolio conducted Britten’s epic War Requiem. In Janu- as a conductor, violinist, ary 2019 he transitioned from Artistic Advisor to professor, and artistic Music Director for the Colorado Music Festival, advisor. He has been cel- commencing a fi ve-year tenure. ebrated for his musicality, Peter Oundjian Oundjian has been a visiting professor at Yale an eye toward collabora- University’s School of Music since 1981, and in tion, innovative programming, and an engaging 2013 was awarded the school’s Sanford Medal personality. for Distinguished Service to Music. A dedicated Oundjian’s 14-year tenure as music director of educator, Oundjian conducted the Yale and Juil- the TSO has been marked by a reimagining of liard symphony orchestras and the New World the TSO’s programming, international stature, Symphony during the 2018–19 season. audience development, touring and a number An outstanding violinist, Peter Oundjian spent of outstanding recordings. Credited for his 14 years as the fi rst violinist for the renowned long association with the orchestra, Oundjian Tokyo String Quartet before he turned his en- helped establish the TSO as one of the world’s ergy toward conducting.

68 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: MAR 27–28

EMANUEL AX piano Ma at Carnegie Hall in March 2020. Further „ Previous CSO Performances: 10 previous, participation in Carnegie Hall’s celebration beginning with his October 1976 debut (also of Beethoven’s 250th birthday will culminate performing the Mozart Concerto No. 20) and in a solo recital in May preceded by recitals including his most recent, in September 2014. in Madison, Santa Barbara, Orange County, Read more: „ emanuelax.com Washington, Las Vegas and Colorado Springs. Born in Lvov, Poland, With orchestra he can be heard in Houston, Emanuel Ax moved to Baltimore, Atlanta, San Diego, San Francisco, Winnipeg, Canada, with Los Angeles, New York, Montreal, Philadelphia his family when he was a and Indianapolis. In Europe he can be heard with young boy. Ax made his orchestras in London, Frankfurt, Berlin, Rome, New York debut in the Zurich, Rotterdam and Tel Aviv. Young Concert Artists Ax has been a Sony Classical exclusive record- Series, and in 1974 won the ing artist since 1987. He has received Grammy fi rst Arthur Rubinstein In- Awards for the second and third volumes of ternational Piano Compe- his cycle of Haydn’s piano sonatas. He has also tition in Tel Aviv. In 1975 he made a series of Grammy-winning recordings won the Michaels Award with cellist Yo-Yo Ma of the Beethoven and Emanuel Ax, © Lisa Marie Mazzucco of Young Concert Artists, Brahms sonatas for cello and piano. In the followed four years later 2004–05 season Ax contributed to an Inter- by the Avery Fisher Prize. national Emmy-winning BBC documentary Highlights of the 2019–20 season include a commemorating the Holocaust that aired on the European summer festivals tour with the Vi- 60th anniversary of the liberation of Auschwitz. enna Philharmonic and long-time collaborative In 2013, Ax’s recording Variations received the partner Bernard Haitink, an Asian tour with the Echo Klassik Award for Solo Recording of the London Symphony and Sir Simon Rattle, U.S. Year (19th-century music/Piano). concerts with the Rotterdam Philharmonic and Emanuel Ax is a Fellow of the American Acad- Lahav Shani, in addition to three concerts with emy of Arts and Sciences and holds honorary regular partners Leonidas Kavakos and Yo-Yo doctorates of music from Skidmore College, Yale University and Columbia University. „

SEASON FINALE: Mahler 3 + Adolphe Premiere MAY 16–17

Louis Langrée conductor Women of the May Festival Chorus Cincinnati Boy Choir Kelly O’Connor mezzo-soprano

cincinnatisymphony.org | FANFARE CINCINNATI | 69 THIRD CHAMBER PLAYERS CONCERT

Chamber 31st Season, 2019–2020 Players FRI MAR 27, 7:30 pm Wilks Studio, Music Hall

BEETHOVEN Septet in E-flat Major, Op. 20 (1770–1827) Adagio—Allegro con brio Adagio cantabile Tempo di menuetto Tema con variazioni Scherzo: Allegro molto e vivace Andante con moto alla marcia—Presto Stefani Matsuo, violin Rebecca Barnes, viola Hiro Matsuo, cello Benjamin Freimuth, clarinet Martin Garcia, bassoon Elizabeth Freimuth, horn Boris Astafiev, double bass

INTERMISSION

SCHUMANN Quintet in E-flat Major for Piano and Strings, Op. 44 (1810–1856) Allegro brilliante In modo d’una marcia. Un poco largamente Scherzo: Molto vivace Allegro ma non troppo Charles Morey, violin Eric Bates, violin Denisse Rodriguez-Rivera, viola Susan Marshall-Petersen, cello Emanuel Ax, piano

YOU’RE INVITED to greet the musicians after the concert. The CSO Chamber Players series has been endowed in perpetuity by the ELEANORA C.U. ALMS TRUST, Fifth Third Bank, Trustee. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

PROGRAM NOTES © 2019–20 Cincinnati Symphony Orchestra

LUDWIG van BEETHOVEN Even though he may have resented the Septet Septet in E-flat Major, Op. 20 for overshadowing more serious pieces he later While most composers would pray for the kind wrote, it does nothing to lessen the pleasure of success that Beethoven experienced with his modern-day listeners experience when hearing it. Septet in E-flat, Op. 20, the composer later came While the Septet would appear to be in line to curse this particular work of 1799. Written to with some of the multi-movement serenades be played at an April 2, 1800 Burgtheater concert and divertimenti that Mozart and Haydn wrote for Beethoven’s own benefit, it came to take as pure entertainment for meals and outdoor on a life of its own. In fact, it became so wildly occasions, it differs in a few key ways. The use popular that it spawned several arrangements of single wind instruments was unusual in a for different instruments to feed the frenzy of setting like this, as were the slow introductions amateur music-making of the day. Soon after to the outer movements. The elevation of the its premiere, it appeared in transcriptions for role of the clarinet to equal partner with violin solo piano, two guitars, piano four-hands, piano (which would later be emulated in Schubert’s quartet, and Beethoven’s own trio arrangement Octet for a similar combination of instruments) for either clarinet or violin with cello and piano. was also unusual.

70 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: MAR 27

More than a few people have remarked on performance on December 6, 1842. However, how symphonic this work sounds. Because she fell ill and Felix Mendelssohn stepped in to each instrument is a solo voice that enjoys a sight-read the piano part. Mendelssohn’s sug- good deal of independence, there is a quality gestions to Schumann after this performance to the music that is strongly evocative of dif- led the composer to make revisions to the inner ferent sections of an orchestra functioning in movements, including the addition of a second dialogue. One could well imagine a kettledrum trio to the third movement. being struck on the opening chord of the Sep- The first movement has a marvelously bold tet to great effect, the opening of its second opening theme and an enchantingly romantic movement to be an alternate brookside scene second subject. The piano plays a major role, from his Pastorale Symphony (complete with functioning as a partner to the string quartet lapping waves in the violin), or the rollicking as a whole rather than as one of five individual scherzo gesture in the horn to be the precursor components of the musical texture. Schumann to the trio of his Seventh Symphony. In any case, demonstrates his mastery of song-like writ- what Beethoven left us in his Op. 20 Septet ing in the lovely slow movement. The main isn’t a symphony or a serenade in a strict sense, theme is a funeral march which alternates with but a novel work that influenced the works of two contrasting episodes, one a lyrical theme composers as varied as Schubert and Brahms played by the first violin and cello, the second a to Hindemith and Martinů. more agitated theme carried by the piano with —Martin Garcia string accompaniment. The third movement scherzo is a whirlwind tour de force, a dazzling ROBERT SCHUMANN construction of ascending and descending Quintet in E-flat Major for Piano and scale passages. Both its trios provide rhythmic Strings, Op. 44 contrast—the first is a lyrical canon for violin and Prior to Schumann, piano quintets were ordinar- viola, the second a heavily accented perpetual ily composed for keyboard, violin, viola, cello motion with the most challenging technical and double bass, as, for example, Schubert’s writing for strings. Trout Quintet. Schumann’s choice to deviate The finale is an exciting sonata-rondo packed from this model and pair the piano with a with Schumann’s own style of contrapuntal de- standard string quartet reflects the changing vices, canons and fugato passages. The splendid technical capabilities and cultural importance, coda incorporates the main them of the first respectively, of these instruments. By 1842, the movement with expert weaving, bringing the string quartet had come to be regarded as the quintet to a brilliant, unified, and satisfying close. most significant and prestigious chamber music Clara Schumann played the piano part, with ensemble, while advances in the design of the Mendelssohn’s recommended changes, at the piano had increased its power and dynamic first public performance of the Quintet on Janu- range. Bringing the piano and string quartet ary 8, 1843, at the Leipzig Gewandhaus. Clara together, Schumann’s Piano Quintet takes full pronounced the work “splendid, full of vigor and advantage of the expressive possibilities of freshness” and thenceforth made it a staple of these forces in combination, alternating conver- her repertoire. The performance was so success- sational passages between the five instruments ful that it had to be repeated on February 9th with “concertante” passages, in which the com- to satisfy audience demand. The composer was bined forces of the strings are massed against understandably pleased with his new creation, the piano. At a time when chamber music was calling it “very spirited and full of life,” and the moving out of the salon and into public concert work proved to be an immense hit with its early halls, Schumann developed the piano quintet audience—Hector Berlioz, visiting Leipzig at the as a musical genre suited to both private and time of the Quintet’s premiere, spoke glowingly public arenas, alternating between chamber-like of it. The score, published by Breitkopf und Här- and almost symphonic proportions. tel within weeks of its first performance, inspired Composed in 1842, Schumann’s “Year of Cham- similar works from Brahms, Franck, Dvořák, ber Music,” the Piano Quintet was sketched out Reger, Fauré and others during later decades, in only five days. It was dedicated to his beloved and has remained Schumann’s most beloved wife, piano virtuoso Clara Schumann. She was contribution to the chamber music repertoire. due to perform the piano part for the first private —© Elizabeth Dalton, 2015

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PETER AND THE WOLF FRANÇOIS LÓPEZ-FERRER conductor KAHLA TISDALE narrator Illustrations created by C.F. Payne

FARANDOLE from SUITE NO. 2 of L’ARLÉSIENNE Georges Bizet

PETER AND THE WOLF Sergei Prokofi ev

MACHINE Jennifer Higdon

The CSO is grateful to Series Sponsor United Dairy Farmers & Homemade Brand Ice Cream and Presenting Sponsor The Cincinnati Symphony Club. Lollipops Family Concerts are supported in part through the George & Anne Heldman Endowment Fund. The Family Fun Zone is sponsored by the U.S. Bank Foundation. Accessibility shuttle services provided by Croswell VIP Motorcoaches.

The Cincinnati Symphony Club Presents

An April Affair to Remember

April 7, 2020 at Kenwood Country Club The event starts promptly at 10:00 a.m. with a Reception, Boutique Shopping, Raffles, Fashion Show and Luncheon. All proceeds benefit the Cincinnati Symphony Orchestra, Cincinnati Pops, and Lollipops Family Concerts To request an invitation contact: Rosalee Campbell, 513-774-0243 [email protected]

cincinnatisymphony.org | FANFARE CINCINNATI | 73 DIRECTORS & ADVISORS

„ BOARD OF DIRECTORS (as of January 9, 2020)

Offi cers Directors Melanie Healey Marilyn J. Osborn Robert W. McDonald, Chair Lars C. Anderson Patti Heldman Thanh T. Pham Francie S. Hiltz, Randi S. Bellner Joseph W. Hirschhorn* Aftab Pureval Immediate Past Chair Michael P. Bergan Brad Hunkler Thomas H. Quinn, Jr. Christopher C. Cole, Secretary Louis D. Bilionis Sandra F. W. Joff e James B. Reynolds* Dianne Dunkelman, Rebecca J. Bolce Lisa D. Kelly Stanley E. Romanstein, PhD Vice-Chair of Volunteerism Kate C. Brown Patrick G. Kirk, M.D. Dianne Rosenberg Thomas Charles Garber, Ralph P. Brown DVM Florence Koetters Jack Rouse Vice-Chair of Institutional Trish Bryan* Peter E. Landgren Lisa M. Sampson Advancement Craig Buchholz John Lanni Ann H. Santen Susan McPartlin, Treasurer Otto M. Budig, Jr.* Spencer Liles* Digi France Schueler and Vice-Chair of Finance Melanie M. Chavez Edyth B. Lindner* Edgar L. Smith, Jr. Dennis L. Schoff , Vice-Chair Michael L. Cioffi Will Lindner Stephanie Smith of Leadership Development Kelly M. Dehan Mark Luegering Theodore W. Striker, M.D. Sheila J. Williams, Alberto J. Espay, M.D. Timothy J. Maloney Robert Sullivan Vice-Chair of Community Shaun Ethier Bernard L. McKay Daphney C. Thomas Engagement Mrs. Charles Fleischmann III* Gerron L. McKnight Pamela F. Thompson Susan S. Friedlander* James P. Minutolo David R. Valz L. Timothy Giglio Laura Mitchell Daniel Wachter Joseph W. Hagin John A. Moore Randolph L. Wadsworth, Jr.* Lawrence Hamby Jennifer J. Morales Charla B. Weiss Delores Hargrove-Young Anne Mulder Stacey G. Woolley Elizabeth Reitz Mullenix *Director Emeritus

WELCOME TO THIS MONTH’S GROUPS! (as of Feb. 11, 2020)

Classical Roots Mar. 6 Cedar Village Alpha Kappa Alpha—Sigma Omega Sorority Cornell Alumni Cincinnati Chapter Baldwin Grove Downtown Residents Council City of Forest Park Seasons Retirement Community The Greater New Hope Missionary Baptist Church CSO Mar. 27–28: Manny and Mozart Kennedy Heights Presbyterian Church Barrington of Oakley Lincoln Heights Missionary Baptist Church Maple Knoll Village The Links, Incorporated Queen City Chapter Otterbein Retirement Community Mt. Zion Baptist Church Seasons Retirement Community Mt. Zion Missionary Baptist Church The Kenwood by Senior Star New Jerusalem Baptist Church The Knolls of Oxford New Vision United Methodist Church Twin Lakes at Montgomery St. Mark Missionary Baptist Church Lollipops Mar. 28: Peter & the Wolf Pops Mar. 7–8: The Cincinnati Sound Baldwin Music Education Center Anderson Senior Center CCM Preparatory Department Barrington of Oakley Pianimals Kids Club Berkeley Square Temple Sholom

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74 | FANFARE CINCINNATI | cincinnatisymphony.org Back the arts. Forward the future.

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2019–20 FINANCIAL SUPPORT

THANK YOU, CORPORATE CONTRIBUTORS The regional business community is integral to the Orchestra’s vibrant performances, community engagement work, and education activities. We are proud to partner with the following corporate sponsors and business donors:

SERIES SPONSORS PLATINUM BATON CIRCLE ($50,000+) CONCERTMASTER’S CIRCLE ($5,000–$9,999) ArtsWave Kelly Dehan and The Dehan Family Louise Dieterle Nippert Musical Arts Fund Makino Foundation of the Green Acres Foundation Pyro-Technical Investigations, Inc. Ohio Arts Council Thompson Hine LLP PNC Bank MUSICIANS CIRCLE ($2,500–$4,999) Western & Southern Financial Group Edward Jay Wohlgemuth Cincinnati USA Convention & Visitors Bureau CSO Season Hixson Architecture, Engineering Interiors GOLD BATON CIRCLE ($25,000–$49,999) LPK Coney Island BUSINESS PARTNERS (up to $2,499) Croswell VIP Motorcoaches American Red Cross, Greater Pops Series The Cincinnati Symphony Club Cincinnati-Dayton Region Macy’s, Inc. Arthur J. Gallagher & Co. National Endowment for the Arts BelFlex Staffing Network United Dairy Farmers & Homemade Buddy Roger’s Music Brand Ice Cream Cavalier Distributing Company Dan Beard Council, Boy Scouts Of America CONDUCTOR’S CIRCLE ($10,000–$24,999) The David J. Joseph Company Pops Artist David L. Martin Bartlett Wealth Management Details2Decor CCI Design / Tom & Molly Garber Diversified Facility Solutions Chemed Corporation Dr. and Mrs. Alvin Crawford Corporex Companies, LLC d.e. Foxx & Associates Frost Brown Todd LLC Harold and Gwen Brown Graeter’s Ice Cream Integrity Development Lollipops Series HORAN Joyce and Howard Thompson ILSCO Corporation/Bardes Fund Kathleen M. Grote Johnson Investment Counsel Megen Construction Edward Jay Wohlgemuth Kroger Company MSA Architects Messer Construction Company Perfido Weiskopf Wagstaff and Goettel CSO Proof Ohio National Financial Services Susan Friedlander PricewaterhouseCoopers LLP The Dental Care Plus Group The Procter & Gamble Company The Nelson Stark Company Taft, Stettinius, and Hollister LLP The Perfect Brew U.S. Bank Private Wealth Management Thomas J. Dyer Company World Pac Paper, LLC Vincent Lighting Systems The Voice of Your Customer Wegman Company

CSO Proof Artist Join this distinguished sponsor group! Contact Kiaya Lynn at 513.744.3239 or [email protected] to learn how you can become Student Access Partner a CSO or Pops sponsor. This list is updated quarterly. Every effort is made to list corporate sponsors accurately. Please contact Kiaya if you see an error or omission.

Featured Sponsor

The CSO is thankful for HORAN’s support as a living too long, dying 125th Anniversary Partner and for 30 years of too soon or becom- sponsoring the Orchestra. ing disabled. For 70 years HORAN has created plans to With offices in Cincinnati, Dayton, Columbus control health care costs, protect your wealth and Ft. Mitchell, HORAN serves corporate and and insure your life. But the end game for all individual clients in 48 states. HORAN has a that we do at HORAN is more than a set of strong regional presence with a national foot- plans. We believe good health and true wealth print. We bring the best services, resources and create a better quality of life for our clients and value to our clients through premier national their families. partnerships. We provide access to high quality affordable Our integrity, commitment to excellence and health care through the bridge of insurance. We industry knowledge are foundations upon which provide planning and investment guidance to HORAN has built a reputation for delivering high build wealth for your retirement and ultimately quality products and services. for the next generation. We design insurance To learn more about HORAN, please visit products and services to mitigate the risk of www.horanassoc.com.

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2019 ARTSWAVE PARTNERS

ArtsWave provides significant annual support to the Orchestra. The CSO and Pops thanks all who generously participate in the Community Campaign. A special note of gratitude to the employees at the following companies for achieving support at the $100,000+ level (*in-kind support).

P&G Enquirer Media Fifth Third Bank and the Fifth Third Foundation U.S. Bank GE Ohio National Financial Services Cincinnati Bell PNC Macy’s Duke Energy The Kroger Co. Cincinnati Reds Western & Southern Financial Group Worldpay Cincinnati Children’s Hospital Medical Center Deloitte Great American Insurance Group Cincinnati Business Courier The Cincinnati Insurance Companies The E.W. Scripps Company and the Scripps Howard Foundation

PERMANENT ENDOWMENTS Endowments provide stability for the Orchestra, help us attract and retain world-class musicians, and allow us to concentrate on fulfilling our core mission to seek and share inspiration. We extend our deep gratitude to the donors who have provided permanent endowments to enrich lives today and in perpetuity. For more information about endowment gifts, contact Mary McFadden Lawson at 513.744.3272.

ENDOWED CHAIRS Tom & Dee Stegman Chair+ Educational Concerts Grace M. Allen Chair Mary and Joseph S. Stern, Jr. Chair+ Rosemary & Frank Bloom * The Kenneth & Norita Aplin and Stanley Cynthia & Frank Stewart Chair Cincinnati Financial Corporation & Ragle Chair for Cello The Jackie and Roy Sweeney Family Chair The Cincinnati Insurance Companies Ellen A. & Richard C. Berghamer Chair The Sweeney Family Chair in memory of The Margaret Embshoff Educational Fund Robert E. & Fay Boeh Chair Donald C. Sweeney Kate Foreman Young Peoples Fund The Marc Bohlke Chair Anna Sinton Taft Chair George & Anne Heldman+ Given by Katrin and Manfred Bohlke Brenda & Ralph Taylor Chair Macy’s Foundation Otto M. Budig Family Foundation Chair James P. Thornton Chair Vicky & Rick Reynolds*+ Trish & Rick Bryan Chair Nicholas Tsimaras-Peter G. Courlas Chair William R. Schott Family** Mary Alice Heekin Burke Chair Jo Ann & Paul Ward Chair Western-Southern Foundation, Inc. Peter G. Courlas-Nicholas Tsimaras Chair Matthew & Peg Woodside Chair Anonymous (3)+ Ona Hixson Dater Chair Mary M. & Charles F. Yeiser Chair The Anne G. and Robert W. Dorsey OTHER NAMED FUNDS Chair for Violin+ ENDOWED PERFORMANCES Ruth Meacham Bell Memorial Fund Jane & David Ellis Chair & PROJECTS Frank & Mary Bergstein Fund for Musical Irene & John J. Emery Chair Eleanora C. U. Alms Trust, Fifth Third Bank, Trustee Excellence+ James M. Ewell Chair Rosemary and Frank Bloom Endowment Fund*+ Jean K. Bloch Music Library Fund Ashley and Barbara Ford Chair for Principal Tuba Cincinnati Bell Foundation Inc. Cora Dow Endowment Fund Susan S. & William A. Friedlander Chair+ Mr. & Mrs. Val Cook Corbett Educational Endowment** Charles Gausmann Chair Nancy & Steve Donovan* Belmon U. Duvall Fund Susanne and Philip O. Geier, Jr. Chair+ Sue and Bill Friedlander Endowment Fund*+ Ewell Fund for Riverbend Maintenance Emma Margaret & Irving D. Goldman Chair Mrs. Charles Wm Anness*, Linda & Harry Fath Endowment Fund Charles Frederic Goss Chair Mrs. Frederick D. Haffner, Ford Foundation Fund David G. Hakes & Kevin D. Brady Chair Mrs. Gerald Skidmore and the Natalie Wurlitzer & William Ernest Griess Dorothy & John Hermanies Chair La Vaughn Scholl Garrison Fund Cello Fund Josephine I. & David J. Joseph, Jr. Chair Fred L. & Katherine H. Groll Fund for Fred L. & Katherine H. Groll Trust Lois Klein Jolson Chair Musical Excellence Music Director Fund for Excellence Harold B. & Betty Justice Chair Fred L. & Katherine H. Groll Fund for Great Artists The Mary Ellyn Hutton Fund for Excellence Marvin Kolodzik Chair+ Fred L. & Katherine H. Groll Trust Pianist Fund in Music Education Al Levinson Chair The Carol Ann and Ralph V. Haile, Jr./ Josephine I. & David J. Joseph, Jr. Patricia Gross Linnemann Chair+ U.S. Bank Foundation Endowment Fund Scholarship Fund Jean Ten Have Chair Anne Heldman Endowment Fund** Richard & Jean Jubelirer & Family Fund* Alberta & Dr. Maurice Marsh Chair Mr. and Mrs. Lorrence T. Kellar+ Elma Margaret Lapp Trust Laura Kimble McLellan Chair Lawrence A. & Anne J. Leser* Jésus López-Cobos Fund for Excellence The Henry Meyer Chair Mr. & Mrs. Carl H. Lindner** Mellon Foundation Fund Louise Dieterle Nippert & Louis Nippert Chairs PNC Financial Services Group Nina Browne Parker Trust Ida Ringling North Chair The Procter & Gamble Fund Dorothy Robb Perin & Harold F. Poe Trust Rawson Chair Vicky & Rick Reynolds Fund for Diverse Artists+ Rieveschl Fund The Vicky and Rick Reynolds Chair Melody Sawyer Richardson* Thomas Schippers Fund in Honor of William A. Friedlander+ Rosemary and Mark Schlachter Endowment Fund*+ Martha, Max & Alfred M. Stern Ticket Fund Donald & Margaret Robinson Chair The Harold C. Schott Foundation, Mr. & Mrs. John R. Strauss Student Ticket Fund Dianne & J. David Rosenberg Chair+ Francie and Tom Hiltz Endowment Fund+ Anna Sinton & Charles P. Taft Fund Ruth F. Rosevear Chair Peggy Selonick Fund for Great Artists Lucien Wulsin Fund The Morleen & Jack Rouse Dee and Tom Stegman Endowment Fund*+ Wurlitzer Season Ticket Fund Associate Principal Timpani Chair+ Mr. & Mrs. Joseph S. Stern, Jr. Fund CSO Pooled Income Fund Emalee Schavel Chair for Great Artists CSO Musicians Emergency Fund Karl & Roberta Schlachter Family Chair U. S. Bank Foundation* Serge Shababian Chair Sallie and Randolph Wadsworth Endowment Fund+ *Denotes support for Annual Music Program Fund **Denotes support for the 2nd Century Campaign Melinda & Irwin Simon Chair+ +Denotes support for the Fund for Musical Excellence

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HONOR ROLL OF CONTRIBUTORS The Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra are grateful to the following individuals and organizations that support our efforts. We extend our heartfelt thanks to each and every one and pay tribute to them here. You can join our circle of supporters online at cincinnatisymphony.org/give or by contacting the Philanthropy Department at 513.744.3271.

PLATINUM BATON SILVER BATON CIRCLE George and Sarah Morrison III Clifford J. Goosmann and Gifts of $15,000–$24,999 Eleanor Nelson Andrea M. Wilson § CIRCLE The Oliver Family Foundation Mr. and Mrs. Lawrence Hamby Gifts of $50,000 and above Dr. and Mrs. John and Suzanne Bossert § The Daniel & Susan Pfau Mr. and Mrs. John B. Hansen The Louise Dieterle Nippert Foundation Mr. and Mrs. Brian E. Heekin Musical Arts Fund Edward Castleberry Michael L. Cioffi Terry and Marvin Quin Dr. James and Ms. Susan Herman Mr. and Mrs. Frederick E. Bryan, III § Mr. and Mrs. Thomas H. Quinn, Jr. Mr. and Mrs. Bradley G. Hughes CCI Design, Molly and Tom Garber Dr. and Mrs. Carl G. Fischer Ashley and Bobbie Ford § Melody Sawyer Richardson § Mr. Marshall C. Hunt, Jr. Sheila and Christopher C. Cole Bill and Lisa Sampson Mr. and Mrs. Lorrence T. Kellar The Corbett Foundation Marvin P. Kolodzik § Mrs. Erich Kunzel Mark S. and Rosemary K. Mr. and Mrs. Richard Kovarsky Susan Friedlander § Schlachter § Michael and Marilyn Kremzar Dr. Lesley Gilbertson and Mr. and Mrs. Robert W. McDonald Mrs. Susan M. McPartlin Mr. Dennis Schoff and Peter E. Landgren and Dr. William Hurford Ms. Nina Sorensen Judith Schonbach Landgren Dr. and Mrs. Stephen Joffe G. Franklin and Carolyn Baker Miller Mr. and Mrs. Joe Orndorff Mr. Rick J. Staudigel and Mr. Will Lindner Mr. Mace C. Justice § Ms. Kelly M. Dehan Mr. and Mrs. AJ and Laura Macht Florence Koetters Joseph A. and Susan E. Pichler Fund* Dr. Jean and Mrs. Anne Steichen Mandare Foundation League of American Orchestras Dr. and Mrs. Peter J. Stern Elizabeth and Brian Mannion Edyth B. Lindner Theodore W. and Carol B. Striker Dale and Joyce Uetrecht Mrs. Anne Drackett Thomas David L. Martin The H.B., E.W., and F.R. Luther Pamela and Paul Thompson Mr. Jonathan Martin and Charitable Foundation, Mrs. James W. Wilson, Jr. Wodecroft Foundation Tomcinoh Fund* Cincinnati Symphony Orchestra Fifth Third Bank and Mr. and Mrs. Paul H. Ward § Mr. Bernard McKay Narley L. Haley, Co-Trustees The Wohlgemuth Herschede Foundation Charla Weiss, Ph.D. Miami University College of The Andrew W. Mellon Foundation Gary and Diane West § Creative Arts Dr. John & Louise Mulford Fund Mr. and Mrs. James M. Zimmerman § Emory P. Zimmer Mr. James A. Miller for the CSO Insurance Agency Linda and James Miller Marilyn J. and Jack D. Osborn § Mr. and Mrs. James Minutolo Vicky and Rick Reynolds CONDUCTOR’S CONCERTMASTER’S Mr. and Mrs. David W. Motch Dianne and J. David Rosenberg CIRCLE The Willard & Jean Mulford Harold C. Schott Foundation, Gifts of $10,000–$14,999 CIRCLE Charitable Fund Francie and Tom Hiltz, Trustees Ms. Jessica Adelman and Gifts of $5,000–$9,999 Dr. E. Don Nelson and Julia The Marge & Charles J. Schott The Kroger Co. Dr. Charles Abbottsmith Sawyer-Nelson Foundation Mr. and Mrs. Lars C. Anderson, Sr. Dr. Norita Aplin and Mr. Scott Nelson and Irwin and Melinda Simon Martha G. Anness § Stanley Ragle § Dr. Susan Kindel Tom and Dee Stegman Mr. Randi Bellner and U.S. Bank Thomas P. Atkins Arlene Palmer Jackie and Roy Sweeney The Bergan Family Kathleen and Michael Ball Dr. Manisha Patel and Family Fund* Mr. Gregory D. Buckley and Dava Lynn Biehl § Dr. Michael Curran Mr. Randolph L. Wadsworth, Jr. § Ms. Susan Berry-Buckley Louis D. Bilionis and Ann Hubbard Ms. Thienthanh Pham Ms. Melanie M. Chavez Mr. William P. Blair III David and Jenny Powell GOLD BATON CIRCLE Crosset Family Fund Mr. and Mrs. Larry Brueshaber The Margaret McWilliams Gifts of $25,000–$49,999 Mrs. Thomas E. Davidson § The Otto M. Budig Rentschler Fund* Friends from Beavercreek Dianne Dunkelman Family Foundation Ellen Rieveschl § Rebecca J. Bolce and Dr. and Mrs. Alberto Espay Peter G. Courlas § Elizabeth and Karl Ronn § Keith S. Wood Mrs. Philip O. Geier § Dr. and Mrs. Alvin Crawford Nancy and Ed Rosenthal Robert and Debra Chavez Rebecca Gibbs and Anne Mulder Jodelle S. Crosset § Martha and Lee Schimberg Charles H. Dater Foundation Priscilla Garrison Haffner § The Lewis and Marjorie Daniel The Louis and Melba Mrs. Charles Fleischmann Mr. Joseph Hagin Foundation Schott Foundation Karlee L. Hilliard § Tom and Jan Hardy § Stephen J. Daush Mike and Digi Schueler The Jewish Foundation of Cincinnati Mr. and Mrs. Bruce Healey K.M. Davis David and Abby Schwartz The Patricia Kisker Foundation Patti and Fred Heldman Dennis W. and Cathy Dern Sue and Glenn Showers § Lazarow Schwartz Family Fund* Mr. and Mrs. Joseph W. Mr. Albert C. Dierckes, Jr. and Elizabeth C. B. and Calvin and Patricia Linnemann Hirschhorn § Nancy Steman Dierckes Paul G. Sittenfeld § Mrs. Robert Lippert Mrs. Harry M. Hoffheimer Nancy and Steve Donovan Mr. and Mrs. Gerald Skidmore § George and Margaret Dr. and Mrs. Lionel King Mrs. Charles M. Drackett Jack J. Smith, Jr. Charitable Trust McLane Foundation Patrick and Mary Kirk Mrs. Diana T. Dwight Michael and Donnalyn Smith Moe and Jack Rouse § Mr. John Lanni Mr. Shaun Ethier and Brett Stover § Ann and Harry Santen § Mrs. Anne I. Lawrence Empower Media Marketing Susan and John Tew The Ladislas & Vilma Segoe Whitney and Phillip Long Mr. and Mrs. James T. Fitzgerald Sarah Thorburn Family Foundation Mark and Tia Luegering Marlena and Walter Frank Mr. and Mrs. David R. Valz The Louise Taft Semple Foundation Mr. and Mrs. Timothy Maloney Dr. and Mrs. Harry F. Fry Christopher and Nancy Virgulak Rhoda Mayerson L. Timothy Giglio Mr. and Mrs. Daniel Wachter G. Franklin and Carolyn Baker Miller Mrs. Michael H. Giuliani Nancy C. Wagner §

Kay Geiger (third from left) and fellow guests of PNC join John Julie Poe (second from left) poses Morris Russell and Megan Hilty after Holiday Pops on Dec. 13. with Tony DeSare, Damon Gupton, and Capathia Jenkins following the New Year’s Eve Pops concert.

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Drs. Douglas Linz and Ann Middaugh Mrs. Marianne Locke Mr. and Mrs. Clement H. Luken, Jr. James A. Markley, Jr. Mr. and Mrs. Dean Matz Dr. Janet P. McDaniel Mark McKillip and Amira Beer Becky Miars John and Roberta Michelman Ms. Sue Miller Mr. and Mrs. John A. Moore and Moore Air CSO Timeless Gala co-chairs Lars and Regeana and Al Morgan Susan Anderson pose during cocktail Mr. and Mrs. Norman Neal hour at the Jan. 11 event. Mrs. John L. Noelcke Mr. and Mrs. Eric Oliver Mr. and Mrs. Robert S. Olson Mrs. George Perbix SYMPHONY CIRCLE Mr. and Mrs. Robert T. Pike Gifts of $1,500–$2,999 Anne M. Pohl § Guests of Fort Washington meet Louis Langrée William Albertson Sherri and Mike Prentiss (left), Renée Fleming (center), and pianist Behzod Marilyn Reichert Abduraimov (right) following the Jan. 10 CSO concert. Jeff and Keiko Alexander § William P. Anderson Foundation Beverly and Dan Reigle Robert and Beth Baer Diane and Alex Resly Mrs. Gail Bain Christopher and Bianca Riemann David and Elaine Billmire Nancy and Raymond Rolwing Patricia M. Wagner § Richard and Susan Lauf Dabby Blatt Dean Stanley Romanstein Donna A. Welsch Mrs. Jean E. Lemon § Martha Bolognini Ross Charitable Trust Cathy S. Willis Thomas and Adele Lippert Dr. and Mrs. William Bramlage Marianne Rowe § Andrea K. Wiot Dr. and Mrs. Edward E. Loftspring Ms. Jo Ann C. Brown Ann Ruchhoft YOT Full Circle Foundation Merlanne Louney Peter and Kate Brown Dr. and Mrs. Michael Scheffler Anonymous (3) Jacqueline M. Mack and Dr. Ralph P. Brown Mr. and Mrs. William C. Dr. Edward B. Silberstein Rachelle Bruno and Stephen Schmidter, III ARTIST’S CIRCLE Mr. and Mrs. Julian A. Magnus Bondurant Rennie and David Siebenhar Gifts of $3,000–$4,999 Chris and Bev Maloney Chris and Tom Buchert Dr. and Mrs. Robert Sefton Smith Mr. and Mrs. Richard N. Adams Alan Margulies and Gale Snoddy Amy and Robert Catanzaro Ms. Stephanie Smith Drs. Frank and Mary Albers Mr. and Mrs. Donald Marshall Dr. Alan Chambers Harold and Faye Sosna Gerard and Susan Baillely Lynn and Glen Mayfield Catharine W. Chapman § Richard and Lois Sprigg Robert and Janet Banks Eleanor S. McCombe Lois Cohen § Howard and Nancy Starnbach Judy A. Bean Barbara and Kim McCracken § Jack and Janice Cook § Ms. Ruth M. Stechschulte Glenn and Donna Boutilier Ms. Amy McDiffett Randy K. and Nancy R. Cooper Bill and Lee Steenken Thomas A. Braun, III § Stephanie McNeill Mr. and Mrs. George Daumeyer Mr. and Mrs. Richard Stradling, Jr. Mr. and Mrs. Joseph Brinkmeyer § Mary Ann Meanwell George Deepe and Kris Orsborn Dr. Alan and Shelley Tarshis Stephen and Diedra Burns Mrs. Patricia Misrach Mrs. Jack E. Drake Kathy Teipen Linda Busken and Mr. and Mrs. David E. Moccia § Mrs. Shirley Duff Rich and Nancy Tereba Andrew M. Jergens § Jennifer Morales and Ben Glassman Mr. and Mrs. John G. Earls § Nydia C. Tranter § Janet and Bruce Byrnes Ms. Mary Lou Motl Mr. Jimmy C. Edwards Mary and Jack Wagner § Dr. Daniel Cajacob David and Beth Muskopf Jean K. Eichert Mr. and Mrs. James L. Wainscott Miss Norma L. Clark § Phyllis Myers and Danny Gray Mrs. Joyce Elkus Dr. and Mrs. Matthew and Susan and Burton Closson Dr. and Mrs. Richard Park § Mr. Laughton Fine Diana Wallace David and Nina Clyne Poul D. and JoAnne Pedersen Gail F. Forberg M. L. Wells Dr. Thomas and Geneva Cook Alice Perlman Richard Freshwater § Virginia Wilhelm Sally and Rick Coomes Alice and David Phillips Carol S. Friel Rev. Anne Warrington Wilson Robin Cotton and Cindi Fitton Mark and Kim Pomeroy Frank and Tara Gardner Robert and Judy Wilson Mr. and Mrs. John Cover Mr. Aftab Pureval Ms. Jane Garvey Carol and Don Wuebbling Mr. and Mrs. James Dealy Michael and Katherine Rademacher Orpha Ann Gatch Foundation David and Sharon Youmans Bedouin and Randall Dennison Marjorie and Louis Rauh Dr. and Mrs. Ralph A. Giannella Andi Levenson Young and Jim and Elizabeth Dodd James W. Rauth § Mrs. Jay N. Gibbs Scott Young Jon and Susan Doucleff § Mrs. Robert S. Read John B. Goering Mr. and Mrs. Robert L. Zierolf Patricia Dudsic Sandra Rivers Dr. and Mrs. Glenn S. Gollobin Ms. Nancy Zimpher Dr. and Mrs. Stewart B. Dunsker Mr. and Mrs. Marcus Rose Drew Gores and George Warrington John and Mary Ann Zorio David and Kari Ellis Fund* James Rubenstein and Dr. James and Mrs. Jann Greenberg Anonymous (8) Ann A. Ellison Bernadette Unger John and Elizabeth Grover Hardy and Barbara Eshbaugh James and Mary Russell Esther B. Grubbs § CONCERTO CLUB Catherine Lepley Feig Mr. Kyle Schlotman and Dr. Janet C. Haartz and Gifts of $500–$1,499 Mrs. Nancy Finke Connetic Ventures Kenneth V. Smith Mr. and Mrs. Peter A. Schmid Mrs. Christine O. Adams Mrs. Jacqueline S. Francis Ms. Delores Hargrove-Young Mrs. Robert Adams Yan Fridman Elizabeth Schulenberg Ms. Elizabeth A. Harty Rev. Dr. David V. Schwab Mr. Barry Adamson Mrs. James R. Gardner William and Joanne Harvey Romola N. Allen § Naomi Gerwin Vivian and Jim Schwab Donald and Susan Henson Sandra and David Seiwert Lisa Allgood Mrs. Jocelyn Glass Mr. Curtis Hinshaw Mr. and Mrs. James Allison Thomas W. Gougeon Doug and Laura Skidmore Bruce and Linda Hoffman William A. and Jane Smith Mr. and Mrs. Rob Altenau Lesha and Samuel Greengus Ms. Susan K. Hopp Dolores and Paul Anderson Kathleen M. Grote § Elizabeth A. Stone Mr. and Mrs. Michael C. Hughes Ms. Margaret M. Story Mr. Paul Anderson Dr. and Mrs. Jack Hahn Mr. Gordon Hullar Mr. and Mrs. Albert Andrews Dr. Donald and Laura Harrison Mrs. Sally Sundermann Mr. Bradley Hunkler Ralph C. Taylor § Dr. Victor and Dolores Angel Mr. and Mrs. Robert R. Heidenreich Heidi Jark and Steve Kenat Nancy J. Apfel Mr. and Mrs. Stephen Hicks Mr. and Mrs. Ronald Tinklenberg Mr. Thaddeus Jaroszewicz Janet Todd Apke/Premium Cleaning Drs. Robert C. Hodges and Karolyn Johnsen Judy Aronoff and Anthony A. McIntire Robert and Audrey Varley Barbara M. Johnson Dr. Barbara R. Voelkel Marshall Ruchman Ruth C. Holthaus Holly H. Keeler Ms. Laura E. Atkinson Mr. and Mrs. Stephen Hone Mrs. Ronald F. Walker Dr. John Kerman and Molly Kerman Dr. and Mrs. Galen R. Warren Mr. David H. Axt and In Memory of Benjamin C. Bill and Penny Kincaid Ms. Susan L. Wilkinson Hubbard § Jim and George Ann Wesner John and Lynn Klahm Jo Ann Wieghaus Dr. Diane S. Babcock § Drs. Marcia Kaplan and Carol Louise Kruse Jerry and Martha Bain Michael Privitera § Sheila Williams and Bruce Smith Mrs. John H. Kuhn § Ronna and James Willis Mr. and Mrs. Carroll R. Baker Mr. and Mrs. Geoffrey Keenan Charles and Jean Lauterbach Joe and Patricia Baker Dr. Robert W. Keith and Steve and Katie Wolnitzek Mary Mc and Kevin Lawson Anonymous (5) William and Barbara Banks Ms. Kathleen Thornton Mrs. Judith A. Leege in memoriam Peggy Barrett § Don and Kathy King of Philip B. Leege Mrs. Polly M. Bassett Patrick Kirk and Mary Vondrak Mr. Peter F. Levin § Michael and Amy Battoclette Jeff and Mary Ann Knoop Elizabeth Lilly* Ms. Shirley Bear Mr. Eric Landrum Dr. and Mrs. Lynn Y. Lin Mariana Belvedere and Samer Hasan Paula and Nick Link Lois G. Benjamin

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Fred Berger Linda P. Fulton § Taylor Metcalfe Mr. and Mrs. Andrew E. Sweeny, Jr. Dr. Allen W. Bernard Ms. Bianca Gallagher Dr. and Mrs. Richard A. Meyer Mr. and Mrs. William R. Talbot, Jr. Barbara and Milton Berner Justin R. Garabedian Michael V. and Marcia L. Middleton Mr. Fred Tegarden Dr. David and Cheryl Bernstein Drusilla Garms Terence G. Milligan Tom and Sue Terwilliger Glenda and Malcolm Bernstein Kathleen Gibboney Sonia R. Milrod Carol Thaman Ms. Marianna Bettman David J. Gilner Dr. Stanley R. Milstein § George and Pamela Thomas Mr. Eric Beutel Louis and Deborah Ginocchio Ms. Laura Mitchell Mr. and Mrs. Alexander Thomson Drs. Sarbori Bhattacharya and Dr. and Mrs. Charles J. Glueck Norbert Mollmann Cliff and Diane Thornsburg Sambhu Choudhury Mr. and Mrs. Jim Goldschmidt Mr. Steven Monder Mr. and Mrs. Joe Thrailkill Mr. and Mrs. Rodd Bixler Steven and Shelley Goldstein Charlie Moorman Greg Tiao and Lisa Kuan Randal and Peter Bloch Ms. Arlene Golembiewski Mr. and Mrs. William Mullins Marcia and Bob Togneri Dr. and Mrs. Jeffrey Bloomer Mrs. Jack Gottschalk Dr. and Mrs. Charles M. Myer III Neil Tollas and Janet Moore Robert L. Bogenschutz Carol Grasha and Christopher Knoop Kathy and Rochelle Nardiello Torey and Tom Torre Ava Jo Bohl Robert and Cynthia Gray Mr. William Naumann Towne Properties Mr. and Mrs. Kenneth Borisch Dr. Alice E. Grimes Mrs. David A. Nelson Dr. and Mrs. Haig G. Tozbikian Marilyn and John Braun Mr. and Mrs. James Grimes Jim and Sharon Nichols Ms. Barb Trauth Robert and Joan Broersma Mary Grooms Mr. and Mrs. John Niehaus Paul and Diana Trenkamp Mr. and Mrs. Don H. Brown William and Amy Hahnel Jane Oberschmidt § Dick and Jane Tuten § Mr. and Mrs. Harold Brown Ham and Ellie Hamilton Mrs. Janet K. Osborn Dr. Ilse van der Bent Mr. and Mrs. Robert S. Brown Roberta Handwerger Nan L. Oscherwitz Dr. Judith Vermillion Jacklyn and Gary Bryson James and Sally Harper Mr. and Mrs. John T. Osterman Vincent Lighting Systems Mr. and Mrs. William R. Burleigh Deborah Hauger, MD Marilyn Z. Ott Ms. Barbara Wagner Donald L. and Kathleen Field Burns Mrs. Jackie Havenstein John A. Pape Mike and Diane Wagner Daniel A. Burr Kenneth and Rachel Heberling Mr. and Mrs. R. Joseph Parker Michael L. Walton, Esq. Jack and Marti Butz Mr. and Mrs. Albert E. Heekin John and Francie Pepper* Sarella Walton John and Terri Byczkowski Irmgard and Horst Hehmann Mr. Stephen Peterson Carole and Ed Warfel Ms. Deborah Campbell § Janet Heiden Mr. Mark Phillips Herman & Margaret Wasserman Anna K. Carey Mrs. Betty H. Heldman § Sandy Pike § Music Fund* Shannon and Lee Carter Howard D. and Mary W. Helms Ann and Marty Pinales Mrs. Louise Watts Denise and Martin Chambers Mrs. E. J. Hengelbrok, Jr. Ms. Marta Pisarka Dr. and Mrs. Warren A. Webster Mike and Shirly Chaney Dr. Bernard Hertzman Mr. Larry R. Plum Mrs. William N. Weed Gordon Christenson Ms. Leslie M. Hoggatt Chris and Janice Plummer Greg and Diane Wehrman Bob and Tisha Clary Mr. and Mrs. Sam R. Hollingsworth Ms. Martha Ragland Ted and Mary Ann Weiss James Clasper and Cheryl Albrecht Richard and Marcia Holmes Mrs. Hera Reines Mr. Louis Weisser Alfred Cohen and Ann Karen and David Huelsman Mr. and Mrs. Brian T. Rhame Maryhelen West Pappenheimer Mr. Doug Ignatius and Dr. Robert Rhoad and Barbara Weyand Carol C. Cole § Mr. Bruce Preston Kitsa Tassian Rhoad Mr. Donald White Dr. and Mrs. John M. Collins Mr. Michael Ilyinsky Becky and Ted Richards Ms. Elizabeth White Dr. George I. Colombel Mr. and Mrs. Paul Isaacs Stephanie Richardson Mr. Dean Windgassen and Fred Colucci Dr. Maralyn M. Itzkowitz Mr. David Robertson Ms. Susan Stanton Windgassen § Dr. Pearl J. Compaan Mrs. Charles H. Jackson, Jr. Ms. Gwen Robinson Harvey and Susan Wittenberg Dr. Margaret Conradi Mr. Neal Jacobs Dr. Toni Robinson-Smith and Mrs. Ann Wolford Jean and Gene Conway Marcia Jelus Mr. Edgar L. Smith, Jr. Don and Karen Wolnik Albert B. Cord Charitable Mr. Dale Jenkins Mr. and Mrs. Ian Rodway Women’s Philharmonic Advocacy Foundation Ms. Sylvia Johnson Ms. Jeanne C. Rolfes Mr. Stacey Woolley Dennis and Patricia Coyne Lois and Kenneth Jostworth John and Meredith Roos Wright Brothers, Inc. Marjorie Craft Dr. Jerald Kay Mr. Brendan Rosa and Mrs. Richard Wurzelbacher Mr. Kevin Crowley Mr. and Mrs. William J. Keating Ms. Catherine Calko Mr. John M. Yacher Mr. and Mrs. Brendon Cull Joan Keller Dr. and Mrs. Gary Roselle Dr. and Mrs. Marvyn H. Youkilis Susan and John Cummings Robert J. Kempton, Ph.D. Amy and John Rosenberg Mrs. Darleen Young Mr. and Mrs. Charles E. Curran, III § Mr. and Mrs. Dave Kitzmiller Mr. and Mrs. G. Roger Ross Judy and Martin Young Lynne Curtiss Frank B. Knapke, Jr. The Saenger Family Foundation Mr. David Youngblood and Jacqueline Cutshall Marie and Sam Kocoshis Mrs. Richard B. Salzer Ms. Ellen Rosenman Mr. Joseph and Mrs. Lori Dattilo Anne B. Koehler Mr. and Mrs. Kazuya Sato Mr. and Mrs. Dan Zavon Loren and Polly DeFilippo Pamela Koester-Hackmann David and Judy Savage Moritz and Barbara Ziegler Stephen and Cynthia DeHoff Diane Kolleck Ms. Dionysia Savas and Irene A. Zigoris Robert B. Dick, Ph.D. Paul and Carita Kollman Mr. Martin Wilz Mary and Steve Ziller, Jr. Ms. Rhonda Dickerscheid Mr. Robert Kraus Mr. Christian J. Schaefer Mr. Richard K. Zinicola and Ms. Marianne Doll Mr. Frank P. Kromer Jane and Wayne Schleutker Linda R. Holthaus Jean and Rick Donaldson Mr. and Mrs. Bruce A. Krone Jeffrey S. Schloemer and Anonymous (27) Julie Dorenbusch Kathleen B. and Michael C. Marcia A. Banker Mrs. John Doviak Krug Fund* George Palmer Schober GIFTS IN-KIND Meredith and Chuck Downton Dr. Diane Krumanaker, DVM Glenda C. Schorr Fund* Croswell Bus Lines, Inc. Tom and Leslie Ducey Patricia Lambeck Mr. and Mrs. Richard Schorr D’Addario Foundation Tom and Dale Due Everett and Barbara Landen Carol J. Schroeder § Mrs. Charles Fleischmann III Mr. Corwin R. Dunn Mrs. Joseph A. Lane James Schubert Funky’s Catering Freeman Durham and Evelyn and Fred Lang Mr. Shawn Scott PPS Group Dean Clevenger Karen Larsen Martha S. Seaman § Queen City Club Richard and Deirdre Dyson Mr. and Mrs. John C. Layne Peter Seidel Ann and Harry Santen Larry and Barbara Elleman Mr. Alvin R. Lee Mrs. Lawrence Shapiro Dr. and Mrs. Daniel Spraul Ms. Ruth Engel Donna Levi Drs. Mick and Nancy Shaughnessy Mr. Rick J. Staudigel and Barbara Esposito-Ilacqua Levin Family Foundation Alfred and Carol Shikany Ms. Kelly M. Dehan Barry and Judy Evans Mr. Brian Lewis Ms. Joycee Simendinger Torey and Tom Torre Ms. Sarah Evans Mr. and Mrs. Lance A. Lewis Jonathan and Diana Sisk Troika/Mission Group Dr. Barbara Fant Dr. Susie and Henry Limouze Ms. Martha Slager Mr. Matt Wagenlander Dr. and Mrs. William J. Faulkner Mr. Arthur Lindsay Arthur J. Slavin Nancy C. Wagner Mr. Walter Feige Mr. and Mrs. James A. Link Stephen and Lyle Smith Patricia M. Wagner Ms. Barbara A. Feldmann Mrs. Mary Long Susan and David Smith Mr. Guy Wolf and Don L. Fernandez Mr. Jeff Lowrance David Snyder § Ms. Jane Misiewicz Mrs. Laura P. Fidler David and Katja Lundgren Mrs. John A. Spiess List as of January 31, 2020 Mr. and Mrs. Alexander Filemonov Timothy and Jill Lynch Mr. and Mrs. Phil Spiewak Mr. and Mrs. Garth Finch Edmund D. Lyon Marian P. Stapleton * Denotes a fund of The Greater Richard and Elizabeth Findlay Edgar J. & Elaine J. Mack Fund John Steele, Sr. Cincinnati Foundation Dr. and Mrs. Thomas Fischer Marshall and Nancy Macks Jerry and Melinda Stenger § Denotes members of The Thomas Mrs. Mary Fisher Jerry Malsh and Ann Segal Christopher and Meghan Stevens Schippers Legacy Society. Individuals Mrs. Stona J. Fitch Mrs. Morita Marmo Laurence G. Stillpass who have made a planned gift to Ms. Nancy B. Forbriger Andrew and Jean Martin Mr. Jason V. Stitt the Cincinnati Symphony Orchestra Mr. and Mrs. William Fotsch Ms. Cynthia Mason Stephanie and Joseph Stitt and Pops Orchestra are eligible for In Memory of Eugene and Steve and Lou Mason Mrs. Donald C. Stouffer membership in the Society. For more Cavell Frey Robert and Heather McGrath Nancy and Gary Strassel information, please contact Kate Mr. and Mrs. Joseph Fricke Karin McLennan Patricia Strunk § Farinacci at 513.744.3202. Mr. and Mrs. James Fryman Charles and JoAnn Mead Mr. and Mrs. Robert J. Sullivan Marjorie Fryxell Mr. Clifford Mentrup

cincinnatisymphony.org | FANFARE CINCINNATI | 81 FINANCIAL SUPPORT

THE THOMAS SCHIPPERS LEGACY SOCIETY

Thomas Schippers was Music Director from 1970 to 1977. He left not only wonderful musical memories, but also a fi nancial legacy with a personal bequest to the Orchestra. The Thomas Schippers Legacy Society recognizes those who contribute to the Orchestra with a planned gift. We thank these members for their foresight and generosity. For more information on leaving your own legacy, contact Mary McFadden Lawson at 513.744.3272.

Priscilla Garrison Haff ner Melody Sawyer Richardson Dr. Robert & Jill Strub Vincent C. Hand & Ellen Rieveschl Patricia M. Strunk Ann E. Hagerman Elizabeth & Karl Ronn Ralph & Brenda* Taylor Tom & Jan Hardy Moe & Jack Rouse Conrad F. Thiede Mr. & Mrs. James R. Adams William L. Harmon Marianne Rowe Minda F. Thompson Jeff & Keiko Alexander Bill Harnish & John Harnish Solveiga Rush Carrie & Peter Throm Mrs. Robert H. Allen Dr. & Mrs. Morton L. Harshman Ann & Harry Santen Dr. & Mrs. Thomas Todd Paul R. Anderson Mary J. Healy Rosemary & Mark Schlachter Nydia Tranter Mrs. Charles William Anness Frank G. Heitker Carol J. Schroeder Dick & Jane Tuten Dr. Norita Aplin & Stanley Ragle Anne P. Heldman Mrs. William R. Seaman Mr. & Mrs. Robert Varley Carole J. Arend Betty & John* Heldman Dr. Brian Sebastian Mr. & Mrs. James K. Votaw Donald C. Auberger, Jr. Ms. Roberta Hermesch Mrs. Mildred J. Selonick Mr. & Mrs.* Randolph Wadsworth, Jr. Dr. Diane Schwemlein Babcock Karlee L. Hilliard Mrs. Robert B. Shott Jack K. & Mary V. Wagner Henrietta Barlag Mr. & Mrs. Joseph W. Hirschhorn Sue & Glenn Showers Nancy C. Wagner Peggy Barrett Daniel J. Hoff heimer Betsy & Paul Sittenfeld Patricia M. Wagner Jane* & Ed Bavaria Kenneth L. Holford Sarah Garrison Skidmore Jim & Lee Anne Waldfogle Dava Lynn Biehl George R. Hood Adrienne A. Smith Mr. & Mrs. Paul Ward Walter Blair Mr. & Mrs. Terence L. Horan David & Sonja* Snyder Jo Anne & Fred Warren Lucille* & Dutro Blocksom Mrs. Benjamin C. Hubbard Marie Speziale Anne M. Werner Rosemary & Frank Bloom Susan & Tom Hughes Mr. & Mrs. Christopher L. Sprenkle Gary & Diane West Ms. Jean Boeschlin Isabelle F. Hugo Michael M. Spresser Charles A. Wilkinson Dr. John & Suzanne Bossert Carolyn R. Hunt Barry & Sharlyn Stare Sarah E. Wilkinson Mollie H. Bowers-Hollon Julia M. F. B. Jackson Cynthia Starr Susan Stanton Windgassen Ronald Bozicevich Michael & Kathleen Janson Dee & Tom Stegman Mrs. Joan R. Wood Thomas A. Braun, III Andrew MacAoidh Jergens Barry Steinberg Alison & Jim Zimmerman Joseph Brinkmeyer Jean C. Jett Nancy M. Steman Anonymous (22) Frank Jordan John & Helen Stevenson Mr. & Mrs. Frederick Bryan, III * Deceased Harold & Dorothy Byers Margaret H. Jung Mary & Bob Stewart Deborah Campbell & Mace C. Justice Brett Stover New Schippers members are in bold Eunice M. Wolf Karen Kapella Myra Chabut Dr. & Mrs.* Steven Katkin Catharine W. Chapman Rachel Kirley & Joseph Jaquette Jean & Matthew* Chimsky Carolyn Koehl Mrs. Jackson L. Clagett III Marvin Kolodzik Norma L. Clark Randolph & Patricia Krumm Lois & Phil* Cohen Theresa M. Kuhn Leland M.* & Carol C. Cole Owen & CiCi Lee Grace A. Cook Steve Lee Jack & Janice Cook Mrs. Jean E. Lemon Mr. & Mrs. Charles Cordes Mr. Peter F. Levin NEWS Peter G. Courlas & Nick Tsimaras* George & Barbara Lott Jodelle S. Crosset Mr.* & Mrs. Ronald Lyons Mr. & Mrs. Charles E. Curran III Marilyn J. Maag 91.7 88.5 Amy & Scott Darrah Margot Marples WVXU WMUB Meredith & Will Darrah, children Allen* & Judy Martin Caroline H. Davidson David L. Martin Harrison R.T. Davis David Mason Amy & Trey Devey Mrs. Barbara Witte McCracken Robert W. Dorsey Laura Kimble McLellan Jon & Susan Doucleff Dr. Stanley R. Milstein Mr. & Mrs. John Earls Mrs. William K. Minor Linda & Harry Fath Mr. & Mrs. D.E. Moccia Alan Flaherty Mrs. Arthur E. Motch, Jr. Mrs. Richard A. Forberg Kristin & Stephen Mullin Ashley & Barbara Ford Christopher & Susan Muth Guy & Marilyn Frederick Patti Myers Rich Freshwater & Family Susan & Kenneth Newmark Susan Friedlander Dr. & Mrs. Theodore Nicholas Mr. Nicholas L. Fry Patricia Grignet Nott Linda P. Fulton Jane Oberschmidt H. Jane Gavin Marja-Liisa Ogden Mrs. Philip O. Geier Julie & Dick* Okenfuss Kenneth A. Goode Jack & Marilyn Osborn Cliff ord J. Goosmann & Dr. & Mrs. Richard E. Park Andrea M. Wilson Poul D. & JoAnne Pedersen Mrs. Madeleine H. Gordon Sandy Pike J. Frederick & Cynthia Gossman Mrs. Harold F. Poe Kathy Grote Anne M. Pohl Esther B. Grubbs, Marci Bein, Irene & Daniel Randolph Mindi Hamby James W. Rauth William Hackman Barbara S. Reckseit

82 | FANFARE CINCINNATI | cincinnatisymphony.org ADMINISTRATION

OFFICE OF THE Tiff any Cooper Kate Farinacci Angela Brock PRESIDENT Community Engagement and Director of Special Campaigns Marketing and Sales Coordinator Jonathan Martin Diversity Manager and Legacy Giving President Heather Brown Ian Saunders Hannah Johnson Subscription Marketing Manager Andrea Maisonpierre Classical Roots Coordinator Director of Events Executive Assistant to the Michelle Lewandowski President Becky Spiewak Teresa N. Ahrenholz Group Sales Manager Education Programs Manager Philanthropy Assistant Rebecca Villarreal ARTISTIC Carol Dary Dunevant Penny Hamilton Subscription Coordinator ADMINISTRATION & Instructional Programs Manager Philanthropy Assistant PRODUCTION Danielle Batchelder Robert McGrath COMMUNICATIONS FINANCE Box Offi ce Manager Vice President & General Manager Christopher Pinelo Richard Freshwater PATRON SERVICES Vice President of Communications Vice President & Zan Burkhardt Supervisors Chief Financial Offi cer Production Assistant Franck Mercurio Christina Bilz Director of Communications Thomas Khoury Heather L. Stengle Nicolas Bizub Director of Information Technology Kyle Lamb Director of Operations Lee Snow Digital Communications Manager Khannah Stanback Representatives Alex Magg Systems Support Manager Erica Almquist Production Manager PHILANTHROPY CSO & May Festival Carly Barnes Mary McFadden Lawson Kyle Wynk Emily Damelio Director of Human Resources Carlos Javier Vice President of Philanthropy Raquel Grant Pops Production Manager Daniel Harrison Sean Baker Megan Inderbitzin-Tsai Payroll Administrator Hannah Hoff man Nate Bachhuber Director of Institutional Giving Nils Illokken Director of Artistic Planning Judy Prinz Tracy Simonson and Administration, Cincinnati Kiaya Lynn Corporate Relations Manager Receptionist Jessica Smithorn Symphony Orchestra and Spencer Zembrodt May Festival Ashley Coff ey Melissa Scott Director of Data Systems Marissa Goodman Foundation and Grants Manager MUSIC & EVENT MANAGEMENT INC. Assistant Artistic Administrator Sarah Maguire Sharon D. Grayton Volunteer Manager Data Services Manager Michael Smith Tyler Secor CEO of MEMI CSO Administrative Assistant Leslie Hoggatt, CFRE Tara Williams to the Music Director Director of Individual Giving and Data Entry Analyst Matthew Dunne General Manager Ahmad Mayes Donor Services Kathleen Curry Director of Education & Catherine Hann, CFRE Data Entry Clerk Amy Dahlhoff Community Engagement Leadership Giving Manager Concessions Manager & Kristina Pfeiff er Special Events Coordinator Katelyn Conway Director of Finance—CSO Individual Giving Manager Ryan Jaspers Elizabeth Engwall Event/Operations Manager Accounting Manager James Kirby Faith Baker Assistant Operations Manager Accounting Clerk Lane Kolkmeyer Sean Bussell Assistant Marketing Manager Accounting Clerk Michele Ferrara Monica Putnick Corporate Sales Manager MUSIC Director of Finance—MEMI Rosemarie Moehring Ashley Kuhn Marketing Manager 90.9 WGUC Accounting Clerk Alexander Pirro Samantha Graham Social Media Manager Accounting Clerk Ed Morrell MARKETING & SALES General Manager Sherri Prentiss Vice President of Marketing Jennifer Schoonover Premium Seat Program Manager M. Todd Bezold Director of Marketing Kelly Benhase Director of Ticketing Corinne Wiseman Creative Content Manager John Geiger Box Offi ce Manager Taft Theatre Stephen Howson Marketing Communication & Holly Tierney Web Manager Box Offi ce Manager Riverbend/PNC Pavilion Jon Dellinger Copywriter/Marketing Manager Kristin Woehl Box Offi ce Manager Steve Kinney Rose Music Center Graphic Designer Monty Wolf Claudia Almanza Plant Operations Manager Graphic Designer Rick McCarty Amber Ostaszewski Marketing Director Director of Audience Engagement Laura Bock Kaitlyn Driesen Marketing Manager Audience Engagement Manager

cincinnatisymphony.org | FANFARE CINCINNATI | 83 CODA by Jonathan Martin

n February 12, a cherished member of our chestra. And in January, at our 125th anniversary O Cincinnati Symphony Orchestra family, concerts, the combined forces of the Cincinnati William Winstead, passed away after a Symphony Orchestra and the Cincinnati Sym- brief illness. phony Youth Orchestra gave the world premiere Bill was a beloved and dedicated member of of Passages in Time. I understand that Bill con- the Orchestra for over 30 years. As Principal sidered this work his crowning achievement, and Bassoonist from 1987 until 2018, Bill approached for those of us who had the privilege to hear his music-making with a spirit of camaraderie, or perform this work, I am sure you will agree. integrity and great passion. He brought for- Louis Langrée has shared the following midable technique, a deep knowledge of the thoughts: “I am deeply saddened to hear of Bill’s repertoire and was an artistic standard-bearer passing. He had a very specific artistry and a for his colleagues worldwide. Bill was also ad- singular sound and style and there are so many mired as a teacher; in addition to his post at the special musical moments shared on stage I will Cincinnati College-Conservatory of Music, he keep forever. For instance his stunning virtuosity was a college professor—teaching piano, bas- in Beethoven’s Fourth Symphony, the inimitable soon, composition, and music theory—at West sense of humor he brought to Carmina Burana, Virginia University, Indiana-Purdue University, the singing beauty of his expression and tone in Florida State University, and at the Oberlin Tchaikovsky’s Fourth Symphony. I am so proud Conservatory of Music. He touched the lives to have served as his Music Director during his of hundreds of music students, many of whom last years in the Orchestra, and I am so grateful— have gone on to have professional careers in for us and for Bill—that we were able to offer him our field, including three members of the CSO one of his final joys with the 125th anniversary bassoon section. commission. That piece will always be a part of Bill was also an accomplished composer of us and only adds to an amazing legacy which chamber music and works for orchestra, includ- will live on through the work of his colleagues, ing major commissions from The Philadelphia students and all those who knew him.” „ Orchestra and the Pittsburgh Symphony Or-

UP NEXT APRIL

1. BEETHOVEN NO. 8 + SŌ PERCUSSION APR 3–4, 2020 1 2 2. POPS | BRUCE HORNSBY APR 14, 2020

3. CSO | RACHMANINOFF & PROKOFIEV APR 17–18, 2020

4. CSO CHAMBER PLAYERS | MENDELSSOHN & BRAUNSTEIN 3 4 APR 24

5. CSO | TRANSFIGURED NIGHT APR 25–26, 2020

6. CSYO/CSO | SIDE-BY-SIDE CONCERT APR 28, 2020

5 6

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